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Full text of "Movie Classic (Sep 1932-Feb 1933)"

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AUDIO-VISUAL CONSERVATION 
at The LIBRARY .^CONGRESS 




Packard Campus 

for Audio Visual Conservation 

www.loc.gov/avconservation 

Motion Picture and Television Reading Room 
www.loc.gov/rr/mopic 

Recorded Sound Reference Center 
www.loc.gov/rr/record 



X 




SEPTEMBER 




& 




New Fav 

I Fight to Dethrone 
GARBO and GaYNOR 






Jean Harlow 

With Her NEW 

Red Hair/ 

Read Story on Page 41 



-?**$* 



A New and Amazing Development 

inTalking Pictures ! 





For the first time you hear 

the hidden, unspoken 

thoughts of people! 




IN EUGENE O'NEILL'S GREAT DRAMA 

STRANGE 

INTERLUDE 



Something new in talking pictures! And of 
course, it comes from the magic studios 
of Metro-Goldwyn-Mayer, producers of 
"Grand Hotel" and so many other important 
screen entertainments! This Pulitzer prize win- 
ning play by Eugene O'Neill has been called the 
greatest romantic drama of our times. It ran a 
year and a half on Broadway. On the talking 
screen you will find it an unforgettable 
experience. Directed by ROBERT Z. LEONARD. 



with 
ALEXANDER K1RKLAND 

ROBERT YOUNG 
MAUREEN O' SULLIVAN 
• HENRY B. WALTHALL 



RALPH MORGAN 
MAY ROBSON 

TAD ALEXANDER 
• MARY ALDEN • 



Eugene O'Neill 

America's greatest 
playwright, reaches 
the height of his 
glory in this mas- 
terpiece. 

El 

Douglas Shearer 

Chief Sound En- 
gineer of M-G-M, 
whose amazing in- 
vention makes this 
picture "different." 



Together again! Theyl 
thrilled the world in "A| 
Free Soul." And now 
Norma Shearer and Clark I 
Gable enact their most\ 
powerful love drama! 





'ET her powder her nose ten times a day 
I * —if she wants to! But it might be 
well for her to remember that every time 
she laughs or talks, men look at her teeth, 
too! Everybody looks at them! 

Now— if you want to be good-looking 
when you talk and smile, do something 
about those flabby, tender gums of yours. 

Today's foods are soft. They fail to 
give your gums any stimulation. That's 
why your gums are tender. That's why 



you find "pink" on your tooth brush. 

Know about "pink tooth brush"? Do 
you know that it not only can dull the 
teeth, but can lead to gingivitis, to Vin- 
cent's disease, even to pyorrhea? Do you 
know that itmay endanger the soundness 
of your teeth? 

Today — get a tube of Ipana Tooth Paste. 

■ Clean your teeth with it. It's first of all a 

splendid modern tooth paste that really 

cleans the teeth. Then— each time— put a 




IPANA 



little more Ipana on your brush or finger- 
tip, and rub it right into your gums. 

Ipana contains a toning agent called 
ziratol. This, with the massage, stim- 
ulates circulation and firms the gum walls. 
Within a few days, your teeth will look 
whiter and brighter. Within a month, 
your gums will be firmer. Keep on using 
Ipana with massage, and you can forget 
all about "pink tooth brush." And you'll 
never be afraid to smile! 

BRISTOL-MYERS CO., Dept.H-91 

73 West Street, New York, N. Y. 

Kindly send me a trial tube of IPANA TOOTH 
PASTE. Enclosed is a two-cent stamp to cover partly 
the cost of packing and mailing. 

Name 

Street 

City Stale 



TOOTH PASTE 



GOOD TOOTH PASTE, UK 



G O O DDLbLLL 



\Paramouiit LEADS THE WAY 1 

AINMENTt^ 1 




AND WATCH FOR — 

"The Big Broadcast" with Bing Crosby, Stuart Erwin, Burns 
& Allen. Boswell Sisters, Cab Calloway, Mills Brothers, 
Arthur Tracy (The Street Singer). Maurice Chevalier in "Love 
Me Tonight" with Jeanctte MacDonald, Charlie Buggies, 
Charles Butterworth and Myrna Loy. Harold Lloyd in "Movie 
Crazy". "A Farewell To Arms" with Helen Hayes, Gary 
Cooper and Adolph Menjou. "The Phantom President" with 
Geo. M. Cohan, Claudette Colbert, Jimmy Durante, Gene 
Raymond, Frances Dee. And more to be announced later. 



huu 46 mi 



THE TABLOID MAGAZINE OF THE SCREEN 



Movie Classic 






VOL. 3' No.1 

c v 



0&0= 



SEPTEMBER, 1932 




WILL 

Sally Eilers 

DETHRONE 

*net Gaynor 

? 

■ 

With Sally becoming more popu- 
lar and more powerful every 
day, will Janet be able to re- 
main queen of their studio? Her 
crown has never been threatened 
before — but the heroine of 
"Seventh Heaven" never had to 
reckon with an Eilers before. 
And right behind Sally are three 
other girls advancing to chal- 
lenge her queendom, too! 

But Janet's danger is not hers 
alone. No queen in any other 
studio is sure of HER crown, 
either. Constance Bennett, 
Greta Garbo, Ruth Chatterton, 
Marlene Dietrich — they all have 
their powerful rivals to worry 
about. 

In this issue you will read the 
story of the new favorites who 
are challenging the reign of the 
old — the inside story of the big- 
gest Battle of the Beauties in 
Hollywood's colorful historyl 



FEATURE ARTICLES 

The Girl That Hollywood Can't Figure Out I — Anita Page Sonia Lee 1 5 

New Favorites Fight to Dethrone Garbo and Gaynor Dorothy Donnell 16 

Yankee Doodle Dandy Is in the Movies Now Nancy Pryor 21 

Is Marlene Dietrich Being Frightened Away from America? Franc Dillon 22 

Bullets, Bolo Knives and Broken Bones Haven't Stopped Torn Mix! ■ ■ ■ .Jack Grant 24 

They Told George Brent That He Was Going Blind ! Gladys Hall 26 

Platinum Blonde Wins Stardom and Husband as a Redhead — 

Jean Harlow Terrence Costello 41 

Is Hollywood Doomed? Asks De Mille Dorothy Calhoun 42 

Herbert Marshall Is Just the Opposite of Gable Dorothy Manners 44 

Jean Harlow Should Make a Good Wife and Mother! Louise Rice 51 

Will Hollywood Change Paid Muni, or Will He Change Hollywood? . .Cruikshank 52 

MOVIE CLASSIC TABLOID NEWS SECTION 

Vidor-Boardman Marriage Ends — Disappointed at Not Having Son . .Ruth Wingate 28 

After Eleven Years, Roscoe Arbuckle Wins Fight to "Come Back". . . .Grant Jackson 29 

Chaplin s Sons Enter Movies with Mother — Father Not Consulted . .Doris Janeway 30 

Ruth Chatterton Divorces Forbes to Marry Brent Jerry Bannon 31 

Mae West, Broadway's Most Daring Actress, Drops into Hoi lywood. Madge Tennant 32 

Remember Baby Peggy? She's Back Again — as a Young Lady Evelyn Derr 33 

Ann Harding Willing to Tear Up Contract and Abandon Career Don Winters 34 

PICTORIAL FEATURES 



Sari Maritza 35 

Jill Esmond 36 

Vivian Reid 37 

John Gilbert and Virginia Bruce 38 

Jeanette MacDonald and Maurice Chevalier 39 

Jean Harlow 40 



Warner Baiter 45 

Dolores Del Rio 46 

Colleen Moore 47 

Ruth Chatterton and George Brent 48 

Kay Francis and William Powell 49 

Sheila Terrv 50 



MOVIE CLASSIC'S DEPARTMENTS 

Between Ourselves Larry Reid 

Movie Classic's Letter Page 

Hollywood Ticker Talk Mark Dowling 

Taking In The Talkies — Reviews Larry Reid 

Our Hollywood Neighbors — Close-Ups Marquis Busby 

Looking Them Over — Hollywood Gossip Dorothy Manners 

COVER DRAWING OF JEAN HARLOW By MARLAND STONE 



10 

11 

12 
18 



c^ 



=o$^= 



!f^D 



DOROTHY CALHOUN- Wtsltrn Editor 



STANLEY V. GIBSON, Publisher 
LAURENCE REID, Editor 



HERMAN SCHOPPE, Ait Director 



Movie Classic is published monthly at 350 E. 22nd St., Chicago, III., by Motion Picture Publications, Inc. Entered as second class matter Julv zo. ioji at the Post 
Office at Chicago, Illinois, under the Act of March 3, 1870; printed in U. S. A. Editorial and Executive Offices, Paramount Building, 1501 Broadway, New York City, N. ¥. 
Copyright 1032 byftAoTion Picture Puulications, Inc. 'Single copy 10c. Subscriptions for U. S., Us possessions, and Mexico $1.00 a year, Canada $2.50, Foreign 
Countries, $2.50. European Agents, Atlas Publishing Company, 18 Bride Lane, London. !•'.. ( . ./. Stanley V, Gibson, President and Publisher, William S. Pettit, Vice 

President, Robert E. Canficld, Secretary-Treasurer. 



MOVIE CLASSIC comes out on the 10th of every Month 



Between Ourselves 



WHAT this country needs, besides some money in its 
pockets, is a good ten-cent movie. Why the de luxe 
motion picture houses — "palaces," I believe they're called? 
Can't the pictures be built big enough and good enough to 
sustain themselves, without gilt and velvet and gaudy stage 
shows (for which we are socked royally): Why make a three- 
ring circus out of movie showmanship? The picture is still the 
thing, and no matter how good it is, it is worth only a quarter. 
And a dime would be even better. 

BISHOP CANNON, whose temperance activities apparently 
don't keep him busy enough, has been booming again. This 
time he declares that the movies are a "social menace," and if 
they don't reform pretty soon, he'll sic Congress on 'em. The 
Bishop should get a stronger pair of glasses, and try to see that 
the morals of the movies aren't half so bad as their finances. In 
the words of M. H. Aylesworth, new head of RKO, they're on the 
verge of bankruptcy. And he isn't giving away any secret when 
he says so. It's common knowledge. Look at how low movie 
stocks are on the stock market. 

UNLIKE most people who can tell you What's Wrong With 
I he Movies, Mr. Aylesworth has some remedies to suggest. 
Cut those fabulous film salaries, and standardize them — so that 
Susie Grapefruit wouldn't have to worry lest her deadly rival, 
Rosie Blush, should be doing less work and making more money. 
Make fewer pictures (saving money that way) — and make them 
better (so that they'd sell like hot-cakes). Hire the most efficient 
players — even if you have to go outside your own studio to do so. 

SOME of the geniuses of Hollywood apparently haven't heard — 
but the public is sick of looking at so-called actors and 
actresses whose features would shame Venus and Apollo. That's 
why Gable and Cagney and Ann Dvorak and Helen Hayes and 
Paul Muni and Leslie Howard have made such hits. They have 
more brains than beauty, more talent than make-up. 

YET producers, here and there, are still busy taking some well- 
rounded unknown and pushing her into a role, without any 
stage experience or even screen experience. I thought that that 
nonsense was over when talkies came in, but apparently pro- 
ducers haven't yet learned their lessons. They still can't get the 
idea out of their heads that sex appeal is just as important as 
acting ability, or even more important. It isn't. Look at Garbo. 
Nary a curve, and she is the greatest favorite in the history of 
the screen. 

HOWEVER, the producers have taken one big step — and in 
one respect are no longer cutting off their noses to spite their 
faces. They are "loaning" each other top-flight players to bolster 
up casts. Last month, I told you of the stars who were then on 
loan. This month, there is a much larger list. 

M-G-M is loaning Lionel Barrymore to RKO for "Sweepings," 
Karen Morley to RKO for "The Phantom of Crestwood," Leila 
Hyams to Paramount for "The Big Broadcast," Jimmy Durante 
to Paramount for "The Phantom President," and Nils Asther to 
Columbia for "The Bitter Tea of General Yen." 

Fox has loaned Charles Farrell (of the Gaynor-Farrells) to 
Warners for "Central Park," and Ehssa Landi to Paramount for 
"The Sign of the Cross." 

Paramount has loaned Jack Oakie to Universal for "Once in a 
Lifetime," Nancy Carroll to Warners for "Son of Russia," 
Richard Arlen to Warners for "Tiger Shark" and Lyda Robert! to 
United Artists for "The Kid from Spain." 

Warners are loaning Warren William to M-G-M for "Sky- 
scraper Souls." RKO has loaned Irene Dunne to Universal for 
"Back Street," Universal has loaned Paul Lukas to M-G-M for 
"Downstairs," and Columbia has loaned Constance Cummings 
to Harold Lloyd for "Movie Crazy." 

THERE has always been a certain loaning of minor players 
between studios. But here are top-ranking players being ex- 
changed. That's something new— and encouraging. Pictures 
ought to be better, if studios can shop around for the right people 
to play them. 



BUT helping the other fellow (and being helped) won't do a bit 
of good unless there are decent stories for the loaned players 
to work with. When you stop to think that one studio is planning 
about sixty pictures for next year, and another is planning fifty, 
and another forty, and so on, you begin to realize why there 
aren't more pictures worth seeing. There just aren't that many 
good stories to go around; there aren't that many good stories in 
all the books and magazines published in a year. That's why the 
studios ought to cut down on their programs. Give us good 
stories, or give us none. And another thing that would help — 
trading of stories, the way trading of stars has started. 

WHETHER she thought of it or not, Jean Harlow's marriage 
to Paul Bern is going to add to her popularity, and not do 
otherwise. The women who have hitherto resented Jean's single 
state will now feel that she isn't a potential rival any more. 
Sounds silly, that they could have thought she was in the first 
place — but they did, as the poisonous letters that Jean has re- 
ceived from her sisters-under-the-skin have told her. (Ain't 
human nature grand?) 

CHAPLIN came back from his long holiday abroad with a 
Utopian scheme for the refinancing of the world, having all 
the nations deposit so much gold in a big international bank . . . 
and presented the spectacle of Pierrot weeping at the world's 
grief. 

JOAN CRAWFORD, getting away for her first vacation in a 
long time and her first trip to Europe, is thinking of the day 
when life will be just one long vacation. When she reaches her 
peak, she's going to take one last curtain-call, thank everyone for 
the good time she has had, and bow out gracefully. She isn't 
quite certain how she'll know when she has reached that high 
estate, but she doesn't think she's there yet. There is much more 
that little Joan plans and hopes to do before she blows us a fare- 
well kiss. Wonder what that day will be like? 

FOR me, the big movie thrill of the year has been "Strange 
Interlude." But one thing in the picture jarred on me. That 
was the passage that explains its title: "The only living life is in 
the past and future . . . the present is an interlude . . . strange 
interlude, in which we call on past and future to bear witness we 
are living." In the play, it was a thought of Nina, the heroine, 
expressed in an "aside." In the movie, it breaks into the action 
toward the end as a straight, old-fashioned subtitle. And we don't 
go to the movies to read any more. We go to hear these days! 

THEY have shortened O'Neill's five-hour play to two hours 
without harming the story a bit. (The censors will no doubt 
attend to that.) And in one very important respect, the picture is 
an improvement on the play. That is in the presentation of the 
famous "asides," which reveal the characters' thoughts. On the 
stage, the actors had to turn aside to utter these lines to the 
audience. On the screen, these lines are uttered without their 
lips moving; you hear their voices, and their mobile faces give ex- 
pression to their words. The effect is startling and fascinating. 

APOLOGIES are in order to Katharine Cornell, the greatest of 
L all the Broadway stars and the only one who won't act for the 
movies. She may look silly in saying "no," but she isn't. And she 
isn't high-hatting the amusement of the masses. She just loves 
the theatre too well to leave it, for any price. That's her story, 
and she'll stick to it. Personally, I like it. 

SOMEBODY has called the movies "the mirror of the times." 
Oh, yeah? Then why haven't we seen even one picture about 
the great army of the unemployed — one little picture showing 
how one man and one woman fought the blight of no work and 
no money, and won? 




' 



$6000 REWARD 

FOR SOLVING THIS MYSTERY! 



YOU can be the 
detective in this 



-• 



astounding crime Jz*Zj: 
thriller!... 




une in on this absorbing 
drama, to be broadcast over 
the nation-wide NBC RED 
NETWORK in six thrilling 
weekly episodes beginning 
Friday, August 26th at 10:30 
P. M. Eastern Daylight Sav- 
ing time ... ALL BUT THE 
FINAL CHAPTER will fee given 
on the air. 



\ 




WRITE YOUR OWN ENDING 

and win one of the 100 cash prizes! 



u 



This is not a guessing contest. Your solution should be original. Prize 
winning answers will not necessarily be anything like the ending which has 
already been written for the motion picture by Bartlett Cormack, author . . . 



THE 

PHANTOM OF CRESTWOOD 



HEAR IT ON THE AIR! 
SEE IT ON THE SCREEN! 

CONTEST JUDGES 

O. O. Mclntyre, Albert Payson Ter- 

hune, Montague Glass, Peter 8. Kyne, 

James Quirk, Julia Peterkin 



RKO-Radio Picture featuring 

RICARDO CORTEZ 
KAREN MORLEY 
ANITA LOUISE 
ERIC LINDEN 

VPadiO PICTURE? 
rfe*DCAST SPECIAL 



GET INTO THE DETEC- 
TIVE GAME!. ..ITS FUN! 

Be sure fo obtain pamphlet containing 
contest rules, prize list and complete list 
of stations broadcasting this story from 
your local theatre, or from any office 
of the RKO Distributing Corporation. 






SHE LOOKS YOUNG till 

She Takes Off Her Hat 




The hair the new hats are showing must 
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odorless, not greasy, that leaves a soft, 
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8 



1 



M ovi e 
Lette 



$20.00 Letter 
Denouncing the Censors 

THE question of whether or not our 
pictures should be censored is one that 
is almost on the same level with prohibition. 
I maintain that we are not the morons the 
Board of Censors would make us out to be. 

No producer could last who would dare to 
insult our intelligence as the censors do. 
Neither would any producer who continu- 
ally brought out immoral issues be success- 
ful. Therefore, why not let us judge what 
constitutes a good picture? 

Why couldn't we see that great picture, 
"Scarface," as it was produced? Wasn't 
every scene in it something which actually 
occurred right here in our own country? Did 
you have to bow to the lords of gangland and 
turn "Scarface" into another ordinary gang 
film? They even tried to kill the picture be- 
fore it was completed. The picture was so 
mutilated in the process of trying to please 
you censors that a great vehicle was 
destroyed. 

Are the censors under the impression that 
we do not know that the forces of law and 
order are not strong enough to cope with 
this menace? The only way to combat this 
present day evil of organized crime is by 
aroused public opinion and this will not 
come about if the masses are kept ignorant of 
conditions as they really exist. 

If the motion picture censors would bear 
in mind that they are in a position to serve 
the public and use a little discretion in the 
handling of their power, we would get some 
films which show conditions as they are. 
Ira Billag, Yonkers, N. Y. 

$10.00 Letter 
Tone Down Sex Angle 

WHEN sex finds its way out of the bed- 
room, out of the home and into the 
cinema — and it remains there as the master 
theme of every drama — then most all of the 
art, practically all of the entertainment and 
most of the intrigue of the drama is gone and 
so long as they allow actresses of Jean 
Harlow's caliber to step into the role of "Red 
Headed Woman" and in so doing pronounce 
her the cream of the crop from which they 
had to select — then, my dear Gaston, this 
beautiful country of ours will again be a 
barbaric, uncivilized prairie land and chil- 
dren of fifteen will be Grandmothers. 

"One Hour with You" was divinely clever. 
Sophisticated. One hundred percent enter- 
tainment. Half of the adults didn't under- 
stand the French chap- 
pie's eyebrow raising 
and those as did found 
him and the entire cast 
of this picture pleasing 
and par excellent en- 
tertainment. 

"Red Headed Wo- 
man" was obvious. A 
child in the cradle with 
an ambitious mind 
could have understood 
it as it was meant to 
be understood. It was 
awkward, cheap and 
dingy and no percent 
entertainment. 

Our charming hosts, 




Become a Critic — Give Your 
Opinion — Win a Prize 

Here's your chance to tell the 
movie world — through Movie 
Classic — what phase of the movies 
most interests you. Advance your 
ideas, your appreciations, your 
criticisms of the pictures and play- 
ers. Try to keep within 200 words. 
Sign your full name and address. 
We will use initials if requested. 
Address Letter Page, Movie Clas- 
sic, 1501 Broadway, New York City. 



the producers, might exercise some degree 
of discretion to excellent advantage and 
check off those of the latter category as 
tabooooo. 

Harriet Salisbury, Independence, Mo. 

$5.00 Letter 
Greta Stands Alone 

GARBO, to make a self-evident state- 
ment, stands alone. Not necessarily 
supreme, but alone. 

There seems, therefore, to be no reason 
for speculating on a possible successor to her, 
except that, like a cross-word puzzle, it gives 
the human mind something to do besides 
teach school, manage apartment houses, and 
wash dishes. 

Can you recall now any of the pretenders 
to the throne of Valentino? Neither can I! 
And history has a funny habit of repeating 
itself. 

We don't want another Garbo, any more 
than we want another Bernhardt or another 
Duse. It is absurd, to me, to think that such 
marked individualities as these can be sup- 
planted. They may be copied, badly or 
wonderfully; they may, and probably will.be 
transcended; but they cannot lose the pecu- 
liar niche which they have dug out for 
themselves. 

Instead of trying to create Garbos or even 
anti-Garbos, the studios might better set 
themselves to work to discover more young 
women who can act as well as Garbo, not 
like her. Furthermore, a few men who can 
emulate, not imitate, the gentle dramatics of 
Paul Lukas would not be amiss. 

Edith M. Glastre, Glendale, Cal. 

The Screen's Homely Men 

WE shall all have to agree that the 
movie industry could never have 
reached its present degree of success if it had 
not been for the handsome men featured in 
the productions. They receive sufficient 
credit for what they do. The female fans see 
to that. 

But, ever since the days of good old 
Theodore Roberts, I have been conscious of 
the real value of those always-to-be-de- 
pended-upon males who are not so hand- 
some. 

To-day, in practically every picture, we' 
find one or more of these artists carrying re- 
sponsible parts. Many a box office success 
would have been a complete "flop" had it 
not been for the work of some unassuming 
male actor who lacked the classic features of 
a Barrymore, or the suavity of a William 
Powell, but who had a vast amount of per- 
sonality and ability. 
The movie industry 
owes much to the men 
of the screen who at- 
tain success through 
ability rather than 
through so-called 
"good looks." Come on 
fans! Let's give a good 
old-fashioned cheer for 
the homely men of 
the movies — they de- 
serve it — and especial- 
ly for the greatest of 
t h e m a 1 1 — W a 1 1 a c e 
Beery! 

Chas. F. Webb, 
Maryville, Tenn. 



\ 



Horti 



uxies were 




*■** 




uich ly 
In the \Jold J\ush of 

4Q 



oJlnd today 

Solve this puzzle correctly — 

QUALIFY— 

and enter our contest in which 
$6800.00 in prizes will be given 




1 



WHEN, in 1848, gold was discovered in California, the 
news spread as if carried on the wind. And by 1849 the 
Gold Rush was on! Covered wagon days — days of the "forty- 
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from all corners of the world, as far away as China — rushing 
to find their fortunes. Excitement ran high — workshops closed, 
business houses closed, farms and offices were deserted by 
people who took the Overland Route to California in search 
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a city over night, and fortunes were won quickly. 

A magic word— GOLD! A laborer, John Marshall by name, 
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E. H. BEUSTER, Room 82 
54 West Illinois St., Chicago, Illinois 



A nationally known corporation now makes its bid for greater ad- 
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Read carefully the directions which follow, then try your luck with this fas- 
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At first glance you may see nothingpuzzling about the picture above, but 
there is a real test combined therein. There are eleven covered wagons, each 
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every detail. Some have striped patches on the covers, others solid black, 
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If you think you can find the two covered wagons that are exactly alike, 

just write their numbers on a post card 
or mail them in a letter. Send no 
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if your answer is chosen as correct. 



$3,000.00 is the first prize. 
An extra 

$500.00 Promptness Prize. 

In accordance with the rules 
makes total 

First Prize — $3500.00 



r 



Ticker Talk 




Hollywood Quotations 



By 

MARK DOWLING 



RALPH FORBES: "I AM AS DEVOTED TO MISS CHATTERTON AS IF SHE WERE MY SISTER, AND I THINK 

SHE SHARES THE SAME FEELING FOR ME!" INA CLAIRE: "PEOPLE SEEM TO THINK I'M STILL 

IN LOVE WITH JOHN GILBERT. I'M NOT. " JOHN BARRYMORE: "MOTHER AND BABE ARE 

THRIVING— YOU MAY SAY I AM DOING VERY WELL MYSELF!" GEORGE JESSEL: "HOW CAN 

NORMA TALMADGE AND I GET MARRIED WHEN WE'RE BOTH MARRIED ALREADY?" LILY DAMITA: 

"GILBERT ROLAND AND I ARE JUST FRIENDS . . . SIDNEY SMITH? ... WE ARE FRIENDS, TOO!" 

BING CROSBY: "I PROTEST AGAINST THE WORD CROONER— CROONERS SING SOFTLY ... I 

RAISE MY VOICE TO FULL STRENGTH" MAY McAVOY: "I'M GOING BACK INTO PICTURES IN 

THE FALL" HARRY EDINGTON: "GRETA GARBO HAD ONLY AN INSIGNIFICANT AMOUNT IN THE 

BEVERLY HILLS BANK— A FEW THOUSAND DOLLARS." MAE WEST: "I NEVER WEIGHED MORE 

THAN 119— IN MY ROLES I AM ALWAYS THOROUGHLY PADDED" CHARLIE CHAPLIN: "I'M 

REPUTEDLY A COMEDIAN BUT AFTER SEEING FINANCIAL CONDITIONS I HAVE DECIDED I'M AS MUCH 

AN ECONOMIST AS THE ECONOMISTS ARE COMEDIANS!" JOSEPH SCHENCK: "I CAN'T BELIEVE 

NORMA WOULD GET A MEXICAN DIVORCE WITHOUT CONSULTING ME ABOUT HER PLANS!" RUTH 

CHATTERTON: "THE TERMINATION OF MY MARITAL RELATIONSHIP WITH RALPH FORBES DOES NOT 

MEAN SEVERING OUR PROFESSIONAL RELATIONSHIP. " JEAN HARLOW: "PAUL BERN AND I 

WERE SURPRISED OURSELVES!" LESLIE HOWARD: "STATEMENTS DEROGATORY TO THE TALKIES 

ATTRIBUTED TO ME ARE ABSURD" HOLLYWOOD REPORTER: "... WHEN RUTH CHATTERTON 

RETURNS SHE WILL MARRY GEORGE BRENT!" EDNA MURPHY: "I ASKED MERVYN TO COME BACK 

TO ME BUT HE ALWAYS REFUSED" LOUELLA PARSONS: "WHEN THE DECREE IS FINAL THERE 

IS EVERY REASON TO BELIEVE MERVYN LEROY AND GINGER ROGERS WILL TAKE THE FATAL STEP" 




"Every actress should know what parts are best 
suited to her. I do. That's why I refused to play the 
'heavy' role they offered me in 'Thirteen Women.' I 
couldn't have done it," says Zita Johann, the Broadway 
star who became the talk of the town when her seven 
year contract with RKO was dissolved by mutual 
agreement, following the casting difficulty. 

"Zita is leaving town for good," a famous columnist 
reported the next day, but it wasn't true. Zita played 
opposite Eddie Robinson in "Tiger Shark" and she 
will soon appear as the squaw heroine of /'Laughing 
Boy" for Universal. 

Brilliant, poised, and very definite in her opinions, 
Miss Johann becomes a member of the Hollywood literati by her 
admission that she "reads books — anything but popular novels. I like 
Proust, for instance. And I love music, not jazz but Chopin and other 
classics. My mother taught me to play the violin as a child." 

With brown hair and eyes, and a square determined chin, Miss Johann is 
interesting and vital rather than merely pretty. Frank in her estimate of her- 
self, she admits that she is honest, impulsive, and apt to be vindictive .... 

Her trouble with RKO did not result from mere temperament, as the 
gossips whispered, but because, she says, "After my success on the stage in 
'Machinal' I was afraid of the movies. Of what they might do to me. You 
see, I have a certain standard to bear." 

"My part in 'Laughing Boy' suits me perfectly. I'm Hungarian by birth, 
though an .American citizen, and I think I look the right type." 

10 



"I don't care how big or small a part is, I'll take it if there's a chance for 
real characterization," says Russell Hopton, who, in two years on the screen, 
has become known as one of the most versatile actors in Hollywood. 

"That probably accounts for the fact that I worked steadily as a free lance 
and made pictures for every studio in town. I've played colorful bits and real 
parts — gangsters, doctors, heroes and villains. . . . 

"Since signing my contract with Universal I've made half a dozen pictures, 
and at the moment we're filming 'Once in a Lifetime.' It's odd that I play the 
fellow who comes to the coast and 'goes Hollywood.' Personally I never lunch 
at the Brown Derby, attend premieres, or any of the other things that make 
up the Hollywood merry-go-round. 

"I've been married to a non-professional for five years," Hopton con- 
fides. "Happily, too. I'm a temperamental actor 
and my wife's just the opposite. Maybe that's 
why we get along. 

"I've been film salesman, furniture salesman, prop- 
erty man and assistant director under U. W. Griffith. 
Then I went on the stage, in stock." 

Over the footlights Hopton appeared in "Night 
Hostess" and "Lulu Belle," so he brought good stage 
experience with him to the screen. 

"I haven't any hobby," he adds. "I like almost all 
sports and right now am concentrating on golf. I do 
not wood-carve, though from what I hear that seems 
to be the fashionable indoor sport of the moment." 




\ 



Taking In The Talkies 

Larry Reid*s Slant On The Latest Films 



-STRANGE *' m P rou( * to i nI ° rm y° u that, no matter how "Strange Interlude" 

I k.i t c d i II r\ r affects you, you will not forget it. It's an experience you'll talk 
N I t K L U U t about, after you untangle your emotions. They have pared down 
the five hours of Eugene O'Neill's stage play to two hours on the 
screen — but the story of his frustrated heroine and the effect of her steadily mounting tragedy 
on those whose lives are bound up with hers is still there in all its emotional intensity. Norma 
Shearer, as Nina, loses her crispness and touches greatness; Clark Gable, as Dr. Darrell, her 
lover, is newly, intensely sensitive; Alexander Kirkland, as Sam, her husband, is convincingly 
harmless; Ralph Morgan, as Marsden, the sharp, old-maidish friend, is bitingly amusing. 
Their changes from youth to old age will amaze you; the way in which their inner thoughts 
are revealed will fascinate you. There was never another picture like this! 




WHAT PRICE 
HOLLYWOOD? 



The original title of Constance Bennett's newest triumph was 
"The Truth About Hollywood," and I think they were wise 
to change it. As it is, you don't have to wonder if you should 
believe this or that — and can just sit back and enjoy the 
comedy, pathos and melodrama as they happen along. It is Hollywood's most successful 
effort to date to dramatize itself — and there will be a drove of imitations. It details the rise 
and fall of a star — a waitress who is discovered by a clever, seldom sober director, skyrockets 
to fame, marries well, is torn between marriage and career, and eventually is involved in 
ruinous scandal. Connie adds spontaneity to her charm, and gives what I'd call the best per- 
formance of her life. At that, Lowell Sherman, as the director, comes perilously close to steal- 
ing another picture. Neil Hamilton, as her husband, is as jealous as you'd be, in his place. 







THE PURCHASE 
PRICE 



In her latest picture, Barbara Stanwyck is a combination 

of the heroine of "Ten Cents a Dance" and the young 
Selina of "So Big" — and the result I found worth watch- 
ing, principally because of Barbara. The story won't 
startle you. She starts out as a night-club girl, loses her wealthy suitor, and To Get Away 
From It All, buys out a girl-friend who is getting a husband through a matrimonial agency, 
and becomes the wife of a farmer in the West. Considering that the tiller of the soil is George 
Brent, it's a bit surprising that the two don't get along. As it is, they have to go through fire 
(literally) to discover that they love one another. And this fire scene, in which fields of grain 
flare up at night, is the big punch of the picture. Barbara, as always, is as real as the girl 
next door — and much easier to look at. George doesn't have much chance to be a lover. 




UNASHAMED ^ e scenario of this courtroom drama was based on certain 
dramatic news stories from a Philadelphia suburb last year, with 
an added touch here and there for camera effect, and new dialogue. But the basic situation is 
the same. The wealthy lover of a young society girl compromises her, and is killed by her 
brother. At his trial for first degree murder, she turns against him — "unashamed." Up to 
this point, the action follows familiar lines, but from here on, it flames up and almost sets fire 
to the. celluloid. Helen Twelvetrees brings the unhappy, free-souled girl into sharp outline — 
and Robert Young (you'll find a story about him on page 56) makes her brother a tense figure. 
The scene I'd suggest your watching for is the one in which Lewis Stone, as the defense lawyer, 
tells the girl just how men are put to death in the electric chair. John Miljan, whose roles are 
at last getting larger, is a potent prosecutor. 




A D y AND ^ e t ' t " e * s as unatt ractive as "Min and Bill," and if I don't miss my 
^» guess, it will be every bit as big a hit. It isn't the same kind of story, 

U EN I but it doesn't lack a thing. And on top of everything else, it has a 

new George Bancroft — no longer cocky, bellowing and swaggering, 
but human, down-to-earth, pathetic, amusing. The "Lady" of the title, Wynne Gibson, is 
also a new person — and as appropriate with the new George as soda is with bitters. George 
is an ex-prize fighter who doesn't quite know what it's all about, but is determined to find 
some of the happiness of life — and does his searching with a night-club girl who's a little bit 
tired of it all. Their adventures and misadventures — some dramatic, some moody, some 
comic — will get under your skin. The dialogue is a match for the acting, and that is saying a 
mouthful — a Joe E. Brown mouthful. 




r 



REBECCA OF 
SUNNYBROOK FARM 



As a prominent Engineer once said, this is a noble 
experiment. There has been a rumor out Holly- 
wood way (which is the darnedest place for rumors, 
anyway) that What The Public Wants is a return 
to the sweet and simple film fare of the good, old days. So Fox made "Rebecca of Sunny- 
brook Farm." Too bad the boys didn't wonder why Mary Pickford, who's a pretty smart 
show-woman herself, was willing to sell them the talkie rights to her old hit. For Rebecca just 
isn't a 1932 girl. The story, as you remember, concerns the noble efforts of an orphan girl 
to see the sunny side of life, no matter how hard her two old maid aunts bear down on her, 
Like Rebecca (even with Marian Nixon playing the part), the situations seem old-fashioned, 
and the dialogue sounds outdated. The fine photography outclasses the scenario. 




1 



11 




Our Hollywood 

EIGHBORS 



GOINGS-ON AMONG THE PLAYERS 

By MARQUIS BUSBY 



ABOUT the most world-shattering news of the month 
y\ in Hollywood concerns the breath-taking fact that 
Lupe Velez is going to do a female Tarzan on the screen. 
Alongside of that, floods in Texas, conventions in Chicago 
and Jean Harlow's red wig fade into oblivion. 

Loop-the-Lupe will don a panther skin and go leaping 
around trees in studio back-lots. Maybe she can make 
over one of her eleven (or is it fifteen ?) fur coats into a 
nifty jungle sport-suit. 

We don't know how Johnny Weissmuller, Mr.Tarzan, 
himself, feels about a lady 
rival. Maybe he doesn't 
care. Maybe he's even 
glad. Those jungles in 
"Tarzan" did look pretty 
lonesome, with nothing 
but a lot of monkeys and 
elephants to make chat- 
chat with. And New York 
spies report that Johnny 
and Lupe became awfully 
good friends when Mister 
Weissmuller paid a visit 
to the main stem. 

As if this weren't enough 
about jungle folk. Uni- 
versal clambers on the 
band wagon with the an- 
nouncement that they're 
going to have a Tarzan, 
too. Their mass of muscle 
is James Pierce, who Tar- 
zan-ed it for FBO several 
years ago. 

It'd be kinda fun to see 
'em all in one picture, and 
why can't it be arranged? 



to rush "front and center" and find it's all a hoax, 
a fishworm must have some feelings. 



Even 




If you can imagine such a thing, one of the girls got a "ringer" 
playing horseshoes — and they can't decide which did it. Mean- 
while you get a good look at Phyllis Fraser and Mary Mason, 
RKO's latest starlets 



LAWYERS have been reaping a nice harvest from the 
_j film people recently. Evelyn Brent got sued by a 
book store on an overdue account. That lawsuit made 
some kind of history in our town. Imagine a movie star 
being sued for books! Ricardo Cortez got sued for #m 
by his golf club, which seems like a nice round sum. So 

easy to remember. And 
Constance Bennett got 
sued by her agents. A 
brave man read the court 
summons to Connie, 
standing sixty feet from 
her on the Malibu sands. 
Connie glowered from a 
window of her seaside 
manse, probably wonder- 
ing if her aim was good 
enough to hit him with a 
flower pot. Claire Wind- 
sor is being sued for 
#100,000 for alienating 
somebody's affections. 
Divorces on the fire in- 
clude Eleanor Boardman 
and King Vidor; Norma 
Talmadge, contemplating 
one of those quickie Mexi- 
can divorces from Joseph 
Schenck, and we do hear 
tell that love is growing 
colder and colder between 
Greta Nissen and Weldon 
Heyburn. 



Lonoei 



YOU hear such funny things around Hollywood. Don't 
let this worry you too much, but Walter Futter, the 
fellow that makes the novelty shorts for Columbia studios, 
comes forth with some startling information about Mother 
Nature's eccentricities. 

He says there is a river in South America that runs real 
vinegar, and that there is a stream in China which is as red 
as blood and a river in Peru in which a dark-haired beauty 
can dive and emerge with henna tresses. Now that last 
tidbit is really interesting. It has so many possibilities. 
Does it just color the hair, or would the lady come forth 
looking like Pocahontas in an Elk's Club pageant? 

And right in Southern California — just within a stone's 
throw of Hollywood, if you really want to throw stones — 
there is a man who can call fishworms out of the earth 
merely by whistling. Interesting enough, but betcha the 
fishworms are pretty mad when they drop their business 



THE best snicker-snicker anecdote of the month is the 
one Harrison (columnist) Carroll tells of the excited 
conversation between two picture actors. 

"Say," began the first one, "I was just over to a direc- 
tor's office and walked in without knocking. And what 
do you suppose? He was kissing a beautiful girl." 

"Yeah," said the friend, "and who was the girl?" 

The actor whispered her name. 

"You don't say! And who was the director?" 

"What do you think I am," the first actor asked, 
indignantly, "a cad?" 



TEMPUS fugits— and how! 
This fall Jackie Coogan puts on his "frosh" cap 
and goes to college. "The Kid" is seventeen now, and 
it seems like only a couple of yesterdays since he was that 



12 



> 1 



TT 



cute, little tike who acted with Charles 
Chaplin. He even has dates with the girls 
these days. 



IT'S all right for Greta Garbo to be a lady 
hermit if she wants to. Greta has the 
Indian sign on Hollywood, and no one would 
protest if she decided to move into a cave in 
the hills and live on roots. But it's too much 
for a lot of people having Ann Harding go 
C.arbo on us. 

Ann, very much embittered about all the 
gossip which followed the dignified an- 
nouncement that Harry Bannister and she 
would no longer be Mr. and Mrs., has de- 
cided to give no more interviews to the 
press. Moreover, she has had her telephone 
disconnected. The only communication 
that trickles into her hilltop house from the 
outside world comes by telegrams. A hard- 
berled watchman stands guard at the gate 
and he has forgotten the pass-word. 

In the meantime it has been whispered that 
Ann isn't any too happy about her next 
picture — that pioneer story which will co- 
star Richard Dix and herself. She knows 
that after two mediocre pictures she needs 
a good one now as never befce. Apparently 
she feels that this one about frontier days 
is not the opus to turn the trick. 



THERE is something of a re-assortment 
going on between the Hollywood ro- 
mantics right now. Lily Damita, who has 
been going places with Sidney Smith, has 
been stepping out with Carl Laemmle, Jr., 
who previously was giving the heavy rush 
to Cecelia Parker. Dorothy Lee, who didn't 
hesitate to proclaim her preference for 
Marshall Duffield, blond football star, is 
seen out with Russell Gleason. James 
Dunn, who changes his girls as often as he 
does his shirt, is all hot and bothered again 
about Maureen O'Sullivan. Billie Dove 
(still maintaining her standing as Holly- 
wood's most popular belle) after being 
beau-ed by Gilbert Roland and George Raft, 
is being kept very busy by Austin Parker, 
Miriam Hopkins' good friend, but estranged 
husband. 



IN an age when gallantry and neatly 
turned compliments have practically 
disappeared, we thought C. B. DeMille's 
comment on Elissa Landi was just too 
delightful. 

"She has to-day in her body, tomorrow in 
her spirit, and the spirit of the ages in her 
eyes," says he. 

Elissa, you know, is going to be the 
Christian girl in C. B.'s next picture, "The 
Si^n of the Cross." 

Quick, Meadows, get out that book on 
the language of the flowers. I want to send 
Elissa a bouquet, and, by golly, it's going 
to say something, too. 



GARY COOPER, in some annoyance, 
arises to remark that he isn't in love 
with anybody. Gary has only to look 
toward a lady and the papers report an 
engagement. Hollywood has worn itself 
thinner than a Slim Summerville shadow 
over the friendship between Gary and the 
Countess Frasso. Typical of the town, it 
entirely overlooked the rather important 
tact that there is still a Count Frasso some 
place in the picture. 

Tallulah Bank-head, "who, .gossip would 
have you believe, was pining away with un- 
requited love for the tall Montanan, isn't 
much bothered any more. They say there's 
a young English actor she sorta likes, and 
she has a'so cast an eye in Joel McCrea's 
direction. And winning Joel is some job. 
More than one Hollywood girl will admit 
to that. 



Critics 

Acclaim 

GREATEST 
PICTURE 
OF THE ^j£ 
YEAR! 




I 



I 







' 'Mm # 



'civ* 

DARING, SENSATIONAL THEME-CLOSEST TO 
EVERYONE'S HEART TODAY! 

A dramatic thunderbolt challenging the nation, it hurls a 
smashing answer to the burning question of the hour! 

Hearts aflame in a whirlpool of tremendous thrills and 
the most spectacular dramatic scenes ever filmed! 

You must see it— you'll love it! 

WALTER HUSTON 

PAT O'BRIEN — CONSTANCE CUMMINGS 
A FRANK CAPRA Production 

A COLUMBIA PICTURE 



Ask your theatre when it will show "AMERICAN MADNESS" 



13 



L 



QUESTIONABLE 

BREATH 




can 't be cured by 

QUESTIONABLE 
MOUTHWASHES 




Use LISTERINE . . . it has a SO year record 

of positive results 



You probably realize that halitosis (un- 
pleasant breath) is the unforgivable 
social fault, and take precautions 
against it. 

But are you taking the right precau- 
tion? Are you sure the mouth wash you 
use can cure halitosis? How do you 
know that it possesses any deodorant 
effect whatever? What evidence have 
you that you are not throwing your 
money away on questionable mouth 
washes with little or no deodorant 
power? There are hundreds on the 
market. 

For your own sake 

When you want to be sure that your 



breath is sweet, wholesome, and agree- 
able, use Listerine — and Listerine only. 
It is the quickest of deodorants, the 
swiftest of antiseptics. 

Its deodorant effect is a matter of 
scientific record with physicians, sur- 
geons, and nurses. Because of its remark- 
able deodorant properties, Listerine has 
been specified in the treatment of sup- 
purating wounds for the past 50 years. 

Sweetens breath instantly 

Clinical tests now show that Listerine, 
used as a mouth wash, instantly over- 
comes odors that ordinary antiseptics 
cannot hide in 12 hours. 



A second series of tests against the 
onion odor revealed even more star- 
tling superiority. While Listerine over- 
came the odor almost immediately, the 
other mouth wash advertised as being 
effective in dilutions of three to one, 
could not hide the onion odor in 24 
hours. 

When you buy a mouth wash, in the 
hope of keeping your mouth clean and 
fresh, and your breath sweet and agree- 
able, don't gamble with solutions with- 
out reputation or record of performance. 

Ask for Listerine . . . the antiseptic 
mouth wash you can depend upon. 
Lambert Pharmacal Company, St. Louis, 
Missouri. 



instantly ends HALITOSIS {bad breath) 



14 



THE TABLOID MAGAZINE OF THE SCREEN 

r "■ .. .. . -<^- . . ... _ _ 



cv 



O&O; 



v^ 



Her name isn't Garbo — but Anita Page. Why 
hasn't she ever had a big romance? And how 
come she gets a star's salary/ yet is kept in 
minor roles? Is she too ambitious or not 
ambitious enough? Hollywood can't figure it 
out — but Anita has an explanation or two to 
offer! 




By 
S O N I A 



The Girl That Hollywood 



Ti 



Can't Figure Out! 



r HE greatest mystery in Hollywood is not Garbo," 
said Director William Van Dyke recently. "It 
is Anita Page." Anita Page — the honey-haired 
girl who overcame the handicap of being intro- 
duced to the films under the conspicuous auspices of 
front-page Harry K. Thaw ; the girl who started blazingly 
some five years ago and now is playing minor parts at a 
star's salary. To-day she is Hollywood's most perplexing 
enigma. 

Anita Page is a paradox on the Hollywood scene. Until 
a vear ago she was under the constant chaperonage of 
Papa and Mama Pomares — even on beau-dates! Holly- 
wood raised quizzical eyebrows, and asked: Why? The 
wonder grew with the years. 

As a newcomer to the screen, she scored sensationally 
in "Broadway Melody," hut contrary to the usual studio 
custom, a brilliant performance was not rewarded with 
other meaty roles — and Anita Page became virtually a 
"bit" player. 

A "bit" player — yet she maintains a steady, amazing 
popularity. Her fan mail is third in volume on the Metro 
lot! College boys choose her as their favorite actress in 
campus ballotings. Mussolini, as recently as a year ago, 
declared her to be his favorite American star. Which 
should have meant the dawn of a big future for any 
ambitious young player. 

But Anita continued to draw uninteresting, uninspiring, 



minute roles. Hollywood couldn't dope it out — and 
started to speak of the Page Mystery. 

Hollywood's Attempts to Explain Her 

THE movie village began to weave fantastic tales and 
offer a variety of reasons. They sum up to something 
like this: 

1. That Anita Page was not sufficiently ambitious. 

2. That she was too ambitious; and so made the women 
stars on the lot jealous. 

3. That a blazing emotion was absent in Anita Page — 
and made her incapable of great interpretations. And 
that the studio, hoping that some day she would awaken, 
kept her on under contract, in the belief that potentially 
she was a great star. 

4. That her parents inhibited the girl — and thus de- 
terred her development and smothered her talent. 

5. That no one was greatly interested in Anita Page — 
and so she had failed to realize her latent possibilities. 
This has been said with Joan Crawford in mind — who, in 
five years, has developed from a chubby hey-hey girl into 
a great dramatic artist. 

6. That someone of importance was so interested in 
Anita Page that her contract was safe — and she did not 
need to be great. 

There are other reasons and conjectures. They verge on 
{Continued on page 64) 

15 



New Favorites Fight 

To Dethrone 

GARBO and Gaynor 

It is Joan Crawford s ambition — and intention — to snatch up the crown that Greta 
has dropped at M-G-M. Three rivals — Sally Eilers, Marian Nixon and Joan 
Bennett — have risen to dispute Janet s long supremacy at Fox. And the queens 
of other studios — Marlene Dietrich, Ruth Chatterton and Constance Bennett — are 
all fighting to keep their thrones. The Battle of the Beauties is on! 



By DOROTHY DONNELL 



A NEW war is on in Hollywood, and every studio 
/\ is a battleground. It is the Battle of the Beauties. 
/— % The thrones of the long-established Queens of 
JL. V. the studio lots — the Garbos and Gaynors and 
Bennetts and Chattertons and Dietrichs are in danger. 
Their reign over the hearts of moviegoers is being chal- 
lenged by upstart beauties, who have dared to stage 
revolutionary successes in their little empires and are 
fighting to dethrone them. Long accustomed to being 
deferred to by supervisors and directors, tyrannical with 
producers, bowed down to by studio photographers and 
publicity men, and acknowledged as supreme by their 
fellow players, the reigning queens of the studios are now 
making desperate efforts to keep their thrones. 

On the Metro-Goldwyn- 
Mayer lot in Culver City, 
Garbo has ruled, unques- 
tioned, for three years. 
Pretenders to her throne, 
and dangerous ones — such 
as Joan Crawford and 
Norma Shearer — have 
stormed her position, but 
have not been able to take 
it. There has probably 
never been a movie star 
who has so overwhelmed 
her studio. Since her first 
great victory over the pro- 
ducers, which she won by 
a siege of silence, no one 
has ventured to oppose 
this strong-willed Swedish ' 
girl. Publicity depart- 
ments do not venture to ask her for picture 
sittings. Interviews are forbidden by special 
edict. Strangers are kept from her by imperial 
command. Her isolation is matched only by 
royalty itself. 

"1 am telling you the absolute truth," Louis 
B. Mayer, head or the company, said in reply 

16 



to a question from 
Movie Classic, at the 
expiration of Garbo's 
contract, "when I say 
that I do not know what 
Greta Garbo's plans are. 
She has told us nothing. 
We are as much in the 
dark as you or anyone 
else except Garbo, her- 
self." 



Sally Eilers 
(right) is 
the girl 
Janet 
Gaynor is 
watching. 
Ann Dvo- 
rak (left) is 
Ruth Chat- 
terton's big 





Richee 
Tallulah Bankhead, who 
queened it in London, is a 
threat to Marlene Dietrich 




I.lppman 
Ruth Chatterton, queen at Warners, 
has two dangerous rivals 

Queen Greta, the First and 
Last, flouts the public and pro- 
ducers to the end. To the end, 
her loyal subjects begged her to 
'( '^lin and rule forever. But her 
;r is — Abdication. 



Marlene Dietrich, Paramount queen, is rest- 
ing uneasily in America 



Does Greta Fear Joan? 

AT the height of her power and fame 
L. she elects, apparently, to step 
down from her unquestioned throne, 
with the same royal dignity and lonely 
state she has maintained so long, and 
vanish into self-imposed exile. Does 
she suspect that her place is being 
threatened by a pretender grown 
powerful enough now to sweep her 
aside if a strong picture affords op- 
portunity? Does Garbo believe that 
in "Rain" Joan Crazvford — zvho ri- 
valed her so potently in "Grand Hotel' 
— has that opportunity, and so chooses 
(Continued on page 68) 



17 



Looking Them Over 

Gossip From The West Coast — By Dorothy Manners 



JEAN HARLOW, and her brand-new husband, Paul 
Bern, did not go away on a honeymoon. They 
started something new by "staying home" on a 
honeymoon. Said Jean Bern (and how do you like 
the new title for the wedding-ring blonde?): 

"Paul just returned from a trip to New York. For six 
weeks I trekked about the country on a personal appear- 
ance tour. We seem to have taken our honeymoon sep- 
arately — before the marriage. It's going to be a novelty 
to stay home." 

One week before they were married, the M-G-M execu- 
tive deeded over the property of his Brentwood home to 
his new bride. It is a beautiful estate covering three acres. 
1 he wedding ceremony took place at the home of Jean's 
mother and step-father. Only a few intimate friends and 
relatives were present. John Gilbert, himself an expected- 
to-be bridegroom, was best man. 



THE Bern-Harlow romance was the surprise of the 
month to Hollywood. Paul and Jean have been 
"going around" pretty consistently for 
two or three years. But, then, Paul Bern 
has been the platonic friend of so many 
beautiful Hollywood girls: the late Bar- 
bara La Marr, Jetta Goudal, Estelle Tay- 
lor and Joan Crawford, to mention a few. 
It used to be a saying in Hollywood that 
it was doubtful if Paul Bern would ever 
get married. Where could he find one 
woman who would understand the gentle 
and kind spirit that makes him befriend so 



NORMA 
SHEARER 
THALBERG isn't 
the only M-G-M 
lady now with a 
husband in the 
Front Office. 
Paul looked after 
Jean's interests 
very well with 
that splendid role 
in "Red-Headed 
Woman." We may 
expect equally in- 
teresting pictures 
for her in the fu- 
ture. Her next will 
be either "Soviet 
Russia" or "The 
Ritz Bar"— both 
tentative titles. And 



You can't get Clark Gable's goat! The 
animal brought him luck, he says, 
when he won $280 on a $2.50 bet at 
Del Monte, where he has vacationed 




many 



7? 



There is a twenty-one-year difference in 
the ages of the newly weds. Jean is 21. 
Paul is 42. 



Exotic, and then some — that's Lyda Roberti, the 
Polish newcomer. But she has even more clown- 
ing ability than platinum blonde hair, as you'll 
see in "The Big Broadcast" 





Buck Jones has been in the movies fourteen years, helping beautiful damsels in 

distress. When Dolores Rey landed at Columbia, fresh from the Follies, she 

remembered that — and asked him for some tips about movie-acting. , u * -'s 

telling her that actions speak louder than talkies l 



I 



Clark Gable or John Gilbert may be her 
next screen lover. That's how important 
Jean's future looks. 



THE Eleanor Boardman-King Vidor 
divorce had been expected — though 
the newspapers, for some reason or other 
grew very "surprised" about it. Eleanor 
and her director-husband haven't been 
hitting it off for some time and many be- 
sides their intimate friends knew about it. 

King Vidor is a temperamental and 
moody man. Eleanor Boardman is the 
sanest, most down-to-earth girl we have 
ever met. Their divergent outlooks on 
life were apparent almost from the outset 
of their marriage five years ago. King 
Vidor has always believed that an artist 
should be "free and unhampered" by 
domestic duties and ties. As long as 
Eleanor attempted to share this view, 
everything was well between them. 

But marriage and two children (both 





The newest lad to get a close-up of Joan Crawford's 
eyes is William Gargan, from Broadway, her 
marine-lover in "Rain." They put a scar on him 
to make him less handsome 



girls) are certainly "settling" influences. 
At least, they apparently proved too 
settling for the man who is often referred 
to as the most artistic director in Holly- 
wood. Eleanor has filed suit for divorce 
and has asked for the custody of the two 
children. 



POOR Roscoe Arbuckle, after trying 
one city hall and then another, finally managed to tie 
the matrimonial knot with Addie McPhail in Wesleyville 
(near Erie), Pa. A justice of the peace officiated. Mayor 
Thacher, of Albany, New York, landed in newspapers 
throughout the country when he refused to perform the 
manrialge ceremony between "Fatty" and Miss McPhail 
because; he considered "marriage too solemn to be 



Dyar 

Juliette Compton is a dangerous woman 

now. Just look at those long, sharp finger 

rings she wears as an Oriental princess in 

"The Devil and the Deep"! 



ballyhooed." Ouch — but that hurt! 
Following another month of per- 
sonal appearance tours, Arbuckle 
and his new bride will return to 
Hollywood, and he will start his 
screen comeback. 



TOAN CRAWFORD and Douglas 

| Fairbanks, Jr., have set out for 
that long-planned vacation to Eu- 
rope. Until the moment they actu- 
ally stepped on the train, Doug was 
"scared" that something would 
come up (as usual) to spoil their 
plans. 

Somebody tells us that two whole 
days before Joan and Doug took 
their departure, they refused to 
answer the telephone or to accept 
And can you blame them? This is 
the fourth start they have made for London, Paris and 
Rome. They may be back in time for the Olympics. 

Joan has never been abroad before — her career has kept 
her too busy. And to go now, she is giving up "Red Dust" 
to Jean Harlow. But Doug couldn't wait any longer to 
show her Paris, where he grew up. 




Coburn 

Besides having a new horse, named 

"Little Joe" for luck, Ricardo Cortez 

has a fast-paced new role. He's the 

hero in "Thirteen Women" 



telegram messages. 



19 




WHEN 
Sylvia 
Sidney ap- 
peared re- 
cently at a 
dancing place 
with B. P. 
Schulberg, it 
verified a ro- 
mance Holly- 
wood has sus- 
pected for 
some time. 
Though Mr. 
Schulberg is 
not yet di- 
vorced from 
his wife, they 
have been le- 
gally sepa- 
rated for more 
than a year 
and it is be- 
lieved by their inti- 
mate friends that the 
dramatic ingenue 
from Paramount will 
be the next Mrs. 
Schulberg. 

Though Schul- 
berg is no longer affil- 
iated with Para- 
mount, he did a great 
deal toward ad- 
vancing Sylvia 
Sidney's career. He 
was also the man 
who started Clara 
Bow on the high 
road to fame. 



ROBERT ARM- 
. STRONG'S di- 
vorced wife, Jeanne, 
is back in Hollywood 
after a year of a tan- 
go tour through the 
Orient. And the 
people who know 
Bob and Jeanne best 
have a very definite 
hunch that the cou- 
ple will make up their 
old differences. 

Jeanne's insist- 
ence upon a dancing 

career was really the main bone of contention be- 
tween them. Bob objected to being left alone while 
his wife tangoed in various parts of the world. 

Now that Jeanne is back, with the comment that 
she is "through with dancing for awhile," there's no 
telling just what will happen. No one believes that 
Bob ever fell out of love with Jeanne — or Jeanne with 
Bob. 



TALLULAH BANKHEAD and Mar- 
lene Dietrich have buried the hatch- 
et and become almost clubby. For 
months there was a very subtle warfare 



between the two sophisticates of the Paramount 
lot. No one knew exactly what the trouble was, but 
anyway the girls didn't speak when they met — and 
they had been introduced! 

But lately the Paramounters have been surprised 
to witness Tallulah's dropping into Marlene's dress- 
ing-room at lunch time to say "Hello." There 
seems to be a good deal of laughter on the part of 
Marlene every time Tallulah drops in, and humor 
is a swell basis for permanent friendship. 



M-G-M will probably 
buy over the con- 
tract of Billie Dove from 
Howard Hughes in appre- 
ciation of her splendid com- 
edy work in the Marion 
Davies picture, " Blondie of 
the Follies." 

They say that Billie gives 
a new and different char- 
acterization in this picture 
that will earn her a world of 
new admirers. If this comes 
to pass, then two of Howard 
Hughes' sparkling charm- 
ers will have been acquired 
by the Culver City studio. 
Billie and Jean Harlow. 



w: 



June Vlasek (above) looks as 
if she's prepared for you to 
give her a tumble. She's one 
of the newest Fox "finds" 
and you'll see her very soon 



Wonder if Peggy Shannon 
(above) is waiting to greet 
Clara Bow in her come- 
back. Remember when 
the two were compared? 




E don't know how 
true this is, but the 
nosey little bird that is al- 
ways thinking up things 
cells us that Norma Shearer 
is anxious to take a good 
long rest from the screen fol- 
lowing "Smilin' Through." 
Norma still has 
several years to 
go on her con- 
tract and she has 
every intention ot 
fulfilling her 
agreement, but 
she would like to 
add a year to the life of the contract 
and take off a year now. 

No, there aren't any stork rumors. 
Norma, so we hear, is just anxious for a 
good long rest and a chance to "play" 
without thinking of studio hours. 



IF Lee Tracy is a "good boy," he may 
become one of the most outstanding 
stars on the screen. If Lee isn't a good 
boy, he won't make many more pic- 
tures. Lee was, and is, a tremendous 
success in "Blessed Event" and War- 
ner Brothers were on the verge of 
ofFering him a grand new contract. 
The point under fire is — can Lee keep 
(Continued on page 6f) 



Something new under the Malibu sun is 
the polka-dot beach ensemble in • 'clr u 
Betty Boyd (left) steps out. Bri and 
cool, it is designed for sunn« 



20 



Yankee 
Doodle 
Dandy 

Is In The 

M 



ovies 



N 



ow 



George M. Cohan — the man who made 
Broadway famous with his plays, his acting, 
and his songs, and has turned down a 
million in movie offers — at last is in the 
talkies. But the Yankee Doodle Dandy has 
more to tell about Gable than he does 
about himself! 

By Naklcy PRyoR 

TO the combined theme songs of "Yan- 
kee Doodle," "The Sidewalks of New 
York" and "Over There," George M. 
Cohan enters the movies. Unfurl the 
flags for the greatest little flag-unfurler of 
them all. Make way for the Yankee Doodle 
Dandy of Broadway. The Song-and-Dance 
Man has temporarily abandoned the Way described as 
"Great" and "White" for the Hollywood boulevards best 
described as what-have-you? 

For the next few months the "man who has written a 
lifetime of hits" will be devoting himself to a Paramount 
contract that calls for a starring appearance (in a dual 
role) in "The Phantom President" and a story script for 
"The Song of the Eagle." Before his contract is finished 
he will probably be producing pictures, starring in his own 
stories, speaking his own dialogue and singing his own 
songs, plus attending to all the other little details usually 
relegated to ten men. George M. is ten men rolled into 
one. 

As a producer, author or star, he has been affiliated with 
one hundred and forty Broadway productions, ranging 
from dramas to musical comedies, including such hits as: 
"Forty-Five Minutes from Broadway," "The Man Who 
Owned Broadway," "Little Johnny Jones," "The Yankee 
Prince," "Officer 666," "Seven Keys to Baldpate" and 




"The Song-and-Dance Man." He staged "Elmer, The 
Great" with Walter Huston and Kay Francis and wrote 
"The Home-Towners," in which Miriam Hopkins ap- 
peared. He has been accused of waving the American flag 
in his show productions more often than an Army stand- 
ard-bearer. 

Made a Million from "Over There" 

IN twenty years he has written five hundred songs — 
most of them hits. Millions of men marched off to war 
with the words of his song, "Over There," on their lips 
and its rhythm in their feet. George M. made one million 
dollars from that one song and received a stirring personal 
note from Wood row Wilson in appreciation ot it. (It he 
lives long enough, he'll make another million from royal- 
ties. They're still playing "Over Then" upon the .slightest 
provocation.) It is the proudest single feat of his brilliant 
career that has, from the first, been American-minded. 
(Continued on page 62) 

21 




International 



Marlene Dietrich 

Being 

Frightened 

Away From America? 



By Franc Dillon 



wi 



HEN Marlene 

Dietrich's contract 

is completed in 

December, she 
will have been in America for 
two and a half years. Those 
close to the glamourous Ger- 
man star whisper that these 

brief, tumultuous years have so frightened Marlene that 
she wants to go "home" — to Berlin — for good and all, in 
December. 

In America she has been annoyed by states, persecuted 
by the press, faced with lawsuits, subjected to gossip, and 
threatened by criminals. She has seen triends lose their 
fortunes in American banks, she has been bored by Holly- 
wood social lite, involved in studio arguments and iorced 
into hiding, by fear 
of danger to her little 
girl, Maria. 

At the moment 
she lives in a state of 
armed terror, going 
n o w here w 1 1 h o u t 
guards. Detectives 
guard the closed sets 
on which Marlene 
works, follow her 
wherever she goes, 
and watch her home 
day and night. Even 
when she goes to the 
movies — which is 
recreation, not a risk 
to most people — 
drastic measures 
are taken for her pro- 
t e c t i o n . Tw o 1 i- 
mousines speed down 
the Boulevard. The 
hist draws up at the 
curb in front of the 
theatre and four 
armed detectives 



11 



The German star has found sensational success in Holly- 
wood/ but little happiness. And now, to cap the cli- 
max, she cannot go anywhere without armed guards- 



and the life of her little girl, who means far more to her 

than fame or money, has been threatened. When she 

returns to Germany in December (her contract expires 

then), will she ever come back? 



Marlene Dietrich cannot even 
lounge in her own yard with- 
out armed guards nearby. 
And guards watch over the play 
of her little girl, Maria (at top), 
whose nursery window (he- 
hind her) is protected with iron 
bars 



m 






This brand-new portrait of Marlene shows her as the exotic 

night-club heroine of "The Blonde Venus," which may be 

her next-to-last American picture. She has one more, "Deep 

Night," to make on her present contract 



leap out. They start 
pushing the crowd back, 
and by the time the sec- 
ond car has arrived they 
have made a pathway to 
the entrance. Down this 
protected path Marlene, 
Maria, the governess and 
Josef Von Steinberg 
rush. The four burly 
guards close in behind 
them and sit one on each 
side of the party, one in 
from and one behind dur- 
ing the performance. 
"Nonsense!" said 



Marlene and Von Sternberg 
in unison when I asked 
them if it were true that she 
will not return to America 
after her trip to Germany 
in December. Yet there are 
disturbing signs that the 
slow enigmatic smile, the 
gorgeous figure and exotic 
beauty that have made 
Dietrich an American idol 
may be lost to us. As long 
as six months ago, accord- 
ing to one of her close 
friends, Marlene was anx- 
ious to leave. 

Signs of Plans to Leave 

IF I could get out of my 
contract, I'd go home 
right now," Marlene is 
quoted as saying angrily 
at that time. "I have 
plenty of money now and 
there is a play I would like 
to do in Germany." But 
Marlene denies that she is 
considering the stage. "My 
only plans now are for a 
holiday," she says. "When 
my contract with Para- 
mount expires in December, 
I am going to Europe for a 
vacation." 

This sounds mild enough, 
but at the time of her out- 
burst to her friend, it ap- 
pears that Marlene con- 
sulted the immigration au- 
thorities and discovered 
that under new rules it 
would be difficult for her to 
return to America, once she 
had left for the second time. 
She sent for her mother and 
sister, who are even now 
said to be on their way to 
Hollywood to visit her. 
Knowing the immigration 
difficulties, if Marlene plans 
to leave America next win- 
ter, she is only too likely to 
remain abroad. 
Two years of American 
life, so different from life in Germany, have worn her re- 
sistance, tried her patience and tortured her nerves until 
it is easy to understand the fear that may drive her away 
from a country where she has found success, but not 
happiness. 

She arrived in Hollywood frank, honest and with no 
inhibitions, determined to like us. She greeted the first 
interviewers like friends. Then came her first experience 
with American customs. Someone in the studio publicity 
department, remembering a press-agent's ABC's, hinted 
that Marlene was just eighteen years old. 

"Ridiculous!" exclaimed Marlene, when she heard of it. 
"I'm not a girl. I'm a woman — 1 have a child. I'm 
twenty-five! And I do not see why I should pretend 
otherwise, or have anyone pretend for me." 
(Continued on page §6) 



23 




Bullets, Bolo Knives and 
Broken Bones Haven't Stopped 



Tom 



Mix 



By JACK G RANT 



IF Mrs. Tom Mix had 
not purchased her 
husband a new polo 
shirt, this story 
might never have been 
written. Had there not 
been a question as to 
whether the garment 
would fit, Tom might not 
have tried it on in the 
presence of your corres- 
pondent. And had that not 
occurred, it might have been 
years before we saw him with- 
out a shirt. 

But the fact is that the new 
Mix did buy Tom an even 
newer shirt, and Tom, more 
interested in his bride's 
gift than in our interview, 
took off the one he was 
wearing to slip on the pres- 
ent. That's how we hap- 
pened to see his bullet- 
scarred shoulder. 

"Nasty scar, you have 
there," we remarked con- 
versationally. 

"Tom has millions of 
'em." Mrs. Mix vouch- 

24 



safed the information blithely, 
a la Jimmy Durante. 

"Hardly millions, dear," 
said Tom, who is inclined 
at times toward conserva- 
tism, "but a right smart 
number of 'em." 

" Exactly how many ?" 
we asked. 

"Well, let's see.'' Tom 
grew reflective. "I was 




Right, Tom Mix as a 
courier in Cuba in the 
Spanish-American 
War, in which he was 
shot in the jaw. At 
top (seated at left), 
Tom as a he-man first 
sergeant after that con- 
flict. Note his swol- 
len jaw. In circle, 
Tom as he is to-day, 
with Tony, his co- 
survivor of many 
movie injuries 



. I 



The rip-roarin cowboy star has been shot 
a dozen times, dynamited once, scalped 
once, knifed twice, bayoneted once, and 
has been in the hospital forty-seven times 
with movie injuries — but he's still grinning! 



shot three times in the left arm, once in the right shoulder, 
once in the right elbow, once through the ribs just below my 
heart, once through the jaw, three times through the ab- 
domen and pelvis, once in the left and once in the right leg. 
How many does that make?" 

"Twelve," answered Mrs. Mix, who was using her fingers. 
" But that doesn't include the explosion that blew a hole four 
inches square in your back." 

"No, it doesn't," Tom admitted. "We were talking about 
bullet holes. The accident with the dynamite happened in a 
picture some years ago. I was to ride Tony over a dam that 
was to be blown up right under us. That is, it was to look 
that way. But somehow, the signals got mixed and they 
blew up the dam before we got across. Tony and I went up 
with it. A piece of my back was blown out and Tony got 
pretty badly hurt, too. They thought we were both goners, 
but we're too tough to be killed with dynamite." 

First Shot When Fourteen 

WE wanted to know if the other accidents, too, were the 
results of picture-making. 
' None of my bullet holes were," Tom replied. " I got a lot 




This shows Tom Mix as a real-life Texas Ranger in the Rio Grande 

country, hack in the early 1900's, long before he ever saw a movie 

camera. This country was the scene of his closest call from a bullet 

wound. A cattle rustler shot him just below the heart 



of broken bones in the movies, but most of the shooting hap- 
pened when I was serving as United States Marshal or 
sheriff. A couple are mementoes of the Army and one of a 
bandit right here in Hollywood. 

"The first time I got shot, I was only fourteen years old. 
I went into town with my family at Pony Track, Texas. It 
was near election time and a couple of rival political factions 
{Continued on page 78) 








Tom Mix's Injuries 

(X's mark fractures. Circles mark bullet ■wounds) 

A. Fractured skull in 1925 in picture stunt. 

B. Nose broken when a shell blew up the artillery wag- 
on Mix was pushing, and splinters tore through 
his scalp, during the Boxer uprising in China. 

C. Rifle shot of an enemy sniper tore away part of his 
jaw in the Spanish-American War. 

D. Shoulder fractured when thrown by a jumping horse 
in a circus performance in Dallas, Texas, 1915. 

E. Collar-bone broken four times in falls. 

F. Shot by Hollywood bandit at Mix home in 1925. 

G. Eight broken ribs and bone fractures sustained 
while making motion pictures. 

H. Shoulder fractured in fall when horse was shot from 

under him by bandits in his U. S. Marshal days. 
I. Shot through ribs below heart while apprehending 

cattle rustlers near Capablanca, Texas, 1904. 
J. Shot twice in left arm by outlaws in Oklahoma, 1906. 
K. Shot again just above elbow during following year. 
L. Shot through abdomen by killer he arrested, 1905. 
M. This is the wound suffered in a gun fight with two 

rustlers, one of whom Mix was compelled to kill, 

1909. 
N. Left arm broken four times in motion picture stunting. 
O. Hand also broken in one of the above accidents. 
P. Shot through pelvis by bad man from whom he was 

attempting to take gun. Then sheriff of Chioto, 

Oklahoma. 
Q. Shot in leg when but fourteen years old. 
R. Leg broken when trampled by horse, Hollywood, 

1914. 
S. Fractured knee when chuck wagon tipped over with 

him in 1926. Wore a brace for several years. 
T. Leg broken while stunting in pictures, 1913. 
U. Fractured ankle while breaking horses for a Wild 

West show in Peoria, 111., 1911. 
V. Foot and ankle broken when he was run over 

by a chuck wagon on location for pictures, 1915. 
W. Shot through leg by escaping bank robbers in 1907. 
X. Three broken fingers, hand and arm fractured in 

screen fights and film stunting, 1919-1925. 
Y. Shot through elbow in stage coach hold-up in 1902. 
Z. Broken arm suffered in mock stage coach hold-up 

for a picture. Coach overturned, pinning him be- 
neath it. 1925. 

NOTE. Scars from twenty-two knife wounds are not indicated 
nor is it possible to show on the diagram the hole four inches square 
and many inches deep that was blown in Mix's back by a dynamite 
explosion. There are also scars from fourteen buck-shot in his left arm. 



25 



They told GEORGE BRENT 
that he was going blind! 

That was less than a year ago, and if he had obeyed his first impulse/ he would never have lived 
to become famous on the screen or to meet Ruth Chatterton. hHere, for the first time, he tells the 
thoughts that went pounding through his head before his sight returned. He has to guard his 

eyes now — for that threat of blindness is still there 



By Gladys hall 



E3 than a year 
ago, an eminent 
eye specialist told 
George Brent that 

he was going blind. 
Blind! 

There is a poem some- 
where that begins, "They 
tell me drowning men 
have dreams. ..." Well, 
George Brent says that 
men going blind have 
dreams, too. He had 
dreams. Dreams of things 
he had seen and would 
never forget even in the 
darkness. Faces that 
would be beacon lights 
where there was no light. 
Scenes he would try to 
forget, but knew that he 
never could. 

And it was mostly the 
things he would never see 
again that George Brent 
mourned. Scenery — the 
sea, ships, birds, dogs, 
blue lakes, dark pines, the 
mist rising from Irish 
bogs at daybreak. 

People are not particu- 
larly important to George 
Brent. Only two people 
have ever been in his 
Hollywood home. Only 
three people in the world, 
he told me, are really 
significant and important 
to him: his sister and her 
husband — and Ruth 
Chatterton. He pals 
about a bit with Cheva- 
lier, whom he admires. 

He also likes and admires Clark Gable, both off and on the 
screen. He's glad, he says, that Gable hasn't changed. 
He can't bear actors who carry their bag of tricks with 
them after they leave the studio. Chevalier never does; 
Gable never does. Neither, certainly, does George, who 
wears horn-rimmed glasses, tweeds, and looks and acts 

26 




far more like an editor, an author 
or a country gentleman than he 
does an actor. 

"People," he said, "never really 
care about you. When you are 
down, there is no one to help or to 
care. When you are up, there are 
— back-slappers. Next to being 
pitied, back-slapping is the most 
odious thing that can be done. 

First Thought Was Suicide 

OF course, when I was told I 
was going blind, my first 
instinct was — suicide. I kept 
thinking, 'Have I worked so hard 
all these years, gone through all 
that I have gone through, tried to 
gain ground and slipped and come 
back again — for this? What is it 
all about? And WHY?' I some- 
times wonder that even now. I 
thought, then, of taking a 'plane 
to China, of dunking myself some- 
where in the China seas. I didn't 
want to live. 

"And then, I suppose, you 
achieve a certain philosophy if 
you survive the first shock of the 
thing. You retreat into your mind, 
and find that you have scenes and 
faces to live with. It was like 
playing Blind Man's Bluff, to me — 
reaching out, trying to catch hold 
of someone or something and hold 
it fast. 

"For weeks while I sat there iri 
bandaged darkness, the doctor's 
verdict final, I knew the feelings of 
a blind man. So far as I knew, I 
was a blind man. First it was 
curious and after a time it was in- 
teresting — the things that mat- 
tered. 

"I seemed to 'see' mostly the 
days when I was a boy back home 
in Ireland. An unhappy kid, living with relatives who 
didn't seem to understand the kind of kid I was, painfully 
shy and painfully sensitive, trying my best to hide it. My 
father, a newspaperman, had died when I was two . . . 
the rest of the family were Army . . . 

(Continued on page §8) 



Fryer 



Movie 
Classic 



Tabloid 



News 
Section 



THE NEWSREEL OF THE NEWSSTANDS 



Douglas Fairbanks, 
Jr., and Joan Craw- 
ford, married just 
three years, head for 
Europe on a "second 
honeymoon" — and 
kill those divorce 
rumors. Here is 
their "bon voyage" 
party: left to right, 
Doug, Jr., Robert 
Montgomery, Mrs. 
Montgomery, Joan 
Crawford, Doug, Sr., 
Clark Gable and 
Mrs. Gable (who 
killed some rumors, 
themselves). Mrs. 
Gable asked Joan 
for an autographed 
photo 




World Wtde 
John Barrymore gets his first good 
look at John Barrymore, II, while his 
new son gives all his attention to 
Dolores Costello Barrymore (left). 
John took a room at the hospital to 
be near them 




The last scene in Hol- 
lywood's newest sur- 
prise wedding (right): 
Jean Harlow, of plati- 
num blonde and "Red- 
Headed Woman" fame, 
cuts her wedding cake, 
with Norma Shearer 
Thalberg and Paul 
Bern (who'll never be 
known as "Mr. Jean 
Harlow") beside her. 
In rear are Irving Thal- 
berg, Jean's mother and 
stepfather, Marino 
Bello 



Genevieve To bin 
(above) revealed in 
these pages last month 
that she's looking for a 
husband who is a com- 
bination of Clark Ga- 
ble, Leslie Howard, 
James C a g n e y and 
C 1 i v e Brook. She 
hasn't found him yet — 
but there's no hurry. 
Genevieve is a hu-\ 
girl, climbing up to 
stardom, like the ac- 
tress she plays in "Hol- 
lywood Speaks" 

11 



♦ MOVIE CLASSIC TABLOID NEWS SECTION ♦ 



VlDOR-BoARDMAN MARRIAGE EnDS — 

Disappointed At Not Having Son 

Hollywood Sees Irony In Fact That Eleanor Boardman And Famous Director, Who Have 

Long Wanted A Boy, Come To Parting Of The Ways On Same Day That Florence Vidor 

Heifetz, His Former Wife, Announces Birth OP A Son 



By RUTH WING ATE 



THE front page of the Los 
Angeles newspapers carried 
the story that Eleanor Board- 
man and director King Vidor, 
after nearly six years of married life, 
were planning a divorce. Tucked 
away on page 3 was the notice that 
Florence Vidor Heifetz (the first Mrs. 
Vidor, and present wife of Jascha 
Heifetz, the famous violinist) had, 
on the previous Saturday, given birth 
to a son. 

To all appearances, the two items 
had no relationship. King and Flor- 
ence Vidor had long been divorced; 
for several years both had been mar- 
ried to new mates — happily so, it had 
seemed. Two children, both girls, had 
been born to King and Eleanor Board- 
man Vidor and all, except a few of 
their most intimate friends, believed 
them to be happy in spite of the "trou- 
ble" rumors that occasionally cir- 
culated about them. 
Yet, though divorce, 
re-marriage and 
children lay between 
those two announce- 
ments that appeared 
simultaneously in 
the morning papers, 
Hollywood could not 
help gossiping of the 
ironical twist of fate 
that somehow wove 
them together. 

For years it has 
been the dearest wish 
of King Vidor and 
Eleanor to have an 
heir, a male child, a 
son. Just why Eleanor 
in the beginning had 
so keenly desired a 
son is not known, un- 
less it could have been 
the fact that King had 
had a daughter, Su- 
zanne, during his mar- 
ried life with Florence. 
A year after their 
marriage when Eleanor, 



then a prominent M-G-M star, real- 
ized that she was to have a child, she 
remarked to an intimate, "I am sure 
we will have a boy. It must be. It 
wouldn't be right to want a son so 
deeply — and be disappointed." 

But in place of the expected man- 
child, a baby 
daughter was 
born, a lovely 
little girl 
whom they 
named 
A n t o n i a 
after the 
character in 
Willa Cather's 
famous novel, 
"My An- 




Eleanor Boardman 
will ask custody of 
their two small 
daughters. She 
has made no plans 
e about her future 
but may return to 
screen 



tonia." With the passing of the first 
feeling of disappointment, Eleanor 
came to adore the little girl and to 
make as glowing plans for her future 
as though the baby had been the 
desired boy- 
Then, as a couple of years went by 
and Eleanor 
knew she was 
to have an- 
other child, 
the old yearn- 
ing reasserted 
itself. She 
felt that this 
time, surely, 
there would 
be a son and 
heir to carry 
on the name 
and possibly 
the talents of 
the director 
who has been 
called the 
most artisti- 
cally sensitive 
in Hollywood. 
But again it 
was a little 
girl who ar- 
rived in the 
Vidor nurs- 
ery, intended for a boy- 
King and Eleanor Vi- 
dor both love their 
children (who will re- 
main in Eleanor's cus- 
tody), and would not 
trade the two little 
girls for all the world — 
so it is probably coinci- 
dent, rather than signifi- 
cant, that it was soon after the birth 
of the second girl-child that divorce 
rumors were first whispered about 
them. At first, they vehemently 
denied the reports, but as time wore 
on a "break" became apparent. 

No, it was not a surprise to Holly- 
wood. It was merely ironical that 
Eleanor and King Vidor should have 
"broken up" at the very timeFlorence 
Vidor, the first wife, gave birth to 
their hearts' desire — a son! 



King Vidor and 
Eleanor Boardman 
were married on 
September 8, 1926. 
King was two 
hours late. With 
tears in her eyes, 
Eleanor said to a 
friend: "I wonder 
if this is a forecast 
of misunderstand- 
ings between us?" 



28 



♦ the newsreel of the newsstands ♦ 



After Eleven Years, 
Roscoe Arbuckle Wins 
Fight To "Come Back" 

Famous Comedian, Exiled From Screen In 1921, 
Will Star In Series Of Two-Reel Comedies — 
Says, "It Looks Like Beginning Of New Deal" 

By Grant Jackson 





ELEVEN years of enforced re- 
tirement from the screen, eleven 
years of trials and travail, eleven 
years of suffering under the ban of 
organized public opinion will end 
this September when Roscoe 
Arbuckle makes his comeback 
as a film comedian. "Fatty" 
has just 
signed 
with War- 
ner Broth- 
ers for a 
series of 
two-reel 
comedies, 
which he 
will direct 

and in which hewill star. 
It is a comeback 
that has been hanging 
fire for more than a 
year. In July, 193 I, the 
moviegoing public was 
asked, through the 
better-known screen 
magazines, "Hasn't 
Arbuckle Been Pun- 
ished Enough?" His 
case was reviewed, and 
the story of the perse- 
cution he had endured 
for ten years was 
sketched; film leaders — 
producers, actors and 
<1 i r e c t o r s — pleaded 
that he be given another 
chance. The reply was 
an avalanche of mail. 
Thousands of letters 
poured into magazine 
offices — and ninety-nine 
out of every hundred of 
those writing in de- 
manded that Arbuckle 



be allowed to return. This 
was fandom refuting the 



organized voice of reform 
bodies and some women's 
clubs. The public was for him. 

Upon the strength of 
this tremendous re- 
sponse, plans were made 
for Arbuckle's comeback 
-but, gratified. 



Arbuckle says: "With Addie as my wife and this 
chance to act again, nothing can stop me." And 
Addie McPhail Arbuckle, his new bride, says: 
"Roscoe is no 'has-been.' All he needs is a chance" 



as he 
public 



was by 
response 

Left, 
Arbuckle 
to-day. He 
is much 
thinner 
than in 
the old 
days 



/ 




The "Fatty" of 

early two-reel 

comedies 



to the idea, be wanted 
to see for himself if 
theatregoers really 
wanted to see him. A 
few months ago, he set 
out Oil a personal ap- 



pearance tour. His success brought 
a flattering contract offer from Warner 
Brothers. 

"Good luck, like bad luck, must 
run in cycles," Roscoe wired your 
correspondent. 'Tt looks like the be- 
ginning of a new deal. With Addie 
as my wife and this chance to act 
again, nothing can stop me." 

An insight into the fine character 
that is Arbuckle's may be obtained 
from that simple statement. Through- 
out his eleven years' banishment, 
never once has he whimpered or de- 
cried bis fate. He quietly went his 
way, writing and directing comedies 
under the name of "William Good- 
rich." The greatest source of good 
cheer and encouragement has been the 
girl he married, Addie McPhail. 

They met when she was cast in a 
comedy he was directing — and it was 
friendship at first sight. Love came 
afterward — when Fatty found her a 
carefree companion, who refused to 
allow him to brood; when Addie saw 
the true worth of the man who 
struggled with adversity, losing battle 
after battle with unconquerable spirit. 
When their engagement was an- 
nounced, one of Addie's friends asked 
why she was marrying a "has-been." 

Addie flared, " A 'has-been,' is he? 
Let me tell you that Roscoe is the 
finest man I've ever known. All he 
needs is a chance. And I'm sticking 
by, whether he gets it or not." 

That's Addie McPhail. She has 
stuck. And it was only a few days 
after their marriage that Roscoe 
signed his comeback contract. 



29 



♦ MOVIE CLASSIC TAB LOID NEWS SECTION ♦ 




Charles Chaplin, 

Jr., 7 (in front), 

and Sydney, 6, 

like the idea 



By DORIS JANE WAY 

HOW can Mr. Chaplin object to 
their appearing in the movies?' ' 
asks Lita Grey Chaplin, mother of 
Charles, Jr., aged 7, and Sydney, 
aged 6 (christened for his uncle, but 
called "Tommy" ever since for his 
mother's father). "Legally, I have 
the entire say about the children. 
Besides, why should he mind having 
his sons on the screen? Except, per- 
haps, it may be a little hard to think 
of having another Charlie Chaplin 
before the public. Douglas Fair- 
banks, Sr., felt that way, too, at first. 

"The children have been teasing to 
be movie actors since they first heard 
about their father and saw him on the 
screen," explains Lita. "Charles, Jr., 
looks like me, and is exactly like his 
father. Tommy looks the image of 
his father, and is exactly like me." 

Yes, she says, they talk a lot about 
Daddy. They have been encouraged 
to, even though they have seen little 
of him in person. In the last two 
years, Lita's manager, Nicholas Gy- 
ory says, Charlie has not sent them 
so much as a picture post-card. 

"It would be strange," murmurs 
the last Mrs. Chaplin, not yet twenty- 
three years old, "if Mr. Chaplin 
should begin to take an interest in his 
children now — aftersuch a longtime." 

Lita Grey Chaplin, it is said, has 
been waiting to return to the screen 
until she had made a real name for 
herself in vaudeville, so that people 
could not say that she was trading on 
her ex-husband's name 

"After the divorce," her manager 
says, "I got an offer of a one-picture 
contract from almost every one of the 
big studios for her. I wouldn't let 
her accept any of them. I knew that 
all they wanted of her then was the 
notoriety. Now, I figure she's wanted 
for herself. She is the highest-paid 
vaudeville actress with a route in this 
country. I might mention that this 



Chaplin's Sons Enter 
Movies With Mother- 
Father Not Consulted 

Lita Grey Chaplin, Comedian's Former Wife, Signs Five-Picture 
Contract For Herself, Charles, Jr., 7, and Sydney, 6 — Charlie 
Had Planned Non-Professional Future For Them 



contract with Fox is a long-term 
contract, and calls for five pictures." 

Though newspaper headlines hint 
that Charlie is angry at the idea of 
having his sons on the screen, the 
lowdown from people who watched 
him in Douglas Fairbanks' bungalow, 
reading the first announcement of the 
contract, is that 
Charlie laughed 
heartily — and 
seemed to know 
of the plans al- 
ready. 

Nevertheless, 
when the little 
boys arrived in 
New York last 
month from 
Europe, a pri- 
vate film com- 
pany detective 
met them at the 
boat — just in 
case their father 
sent representa- 
tives. Their 
mother, conclud- 
ing a vaudeville 
engagement in 
Omaha, was un- 
able to meet 
them — but her 





manager was on hand. He told re- 
porters that "we" felt no unfriend- 
liness toward Mr. Chaplin, but added 
that "if he starts anything, we'll give 
him the time of his life." The two 
boys were the hit of the day with ship 
news reporters, who jotted down that 
both were vivid, unspoiled person- 
alities, talked 
well, rated 
Mickey Mouse, 
Minnie Mouse 
and Charlie 
Chaplin — in 
that order — as 
their favorite 
movie actors, 
were looking 
forward to 
seeing the Olym- 
pics and acting 
in "Little 
Teacher," and 
were planning to 
be a bus driver 
and a locomotive 
engineer when 
they grew up. 

At the time of 
the divorce, 
Chaplin settled 
approximately 
a million dollars 
on his former 
wife and the two 
boys — and it was 
his plan then 
that they should 
be reared in a 
non-professional 
atmosphere. 
According to 
Charlie's friends, 
he feels that 
after settling 
such a sum on 
his sons, he has 
some say about 
their f utu re . 



Lita Grey Chaplin, whose 
mother has been caring for the 
boys in Nice, France, while she 
has been on a vaudeville tour, 
does not see how Charlie 
Chaplin (left) can object to 
their appearing on the screen 



30 



THE NEWSREEL OF THE NEWSSTANDS 



Ruth Chatterton 
Divorces Forbes 
To Marry Brent 

Actress And Ralph Forbes Part Friends, 

Bringing Themselves To Long-Delayed Step 

— Romance With George Brent Began In 

Their Pictures Together 

By Jerry bannon 



RALPH FORBES was almost 
killed recently. It was when, 
seeing his wife off on her vacation 
trip to Europe, he remained a trifle 
too long on the platform of the train 
to give her a last kiss, and had to 
make a last-minute leap to the ground. 
A little more than a week later, Ruth 
handed a Madrid reporter a two-line 
statement of her plan to divorce for 
"incompatibility," and Ralph was de- 
parting from Hollywood to establish a 
residence for her in Reno. 

Since then, while Hollywood has 
buzzed with conjectures and the 
gossip-columnists have printed ru- 
mors of money trouble, another 
woman, another man, Ralph has re- 
ceived long affectionate letters from 
Ruth, telling him the news about 
their many mutual 
friends abroad. This 
bids fair to be Holly- 
wood's friendliest di- 
vorce, surpassing even 
the Harding-Bannister 
parting. 

A few days before 
Ruth left for Europe, 
a friend 
(who had an 
inkling of her 
plans) asked / 

her: "What's 
the matter ) 

between you 
and Ralph? 
You're awful- 
ly sweet to- 
gether — it's 
too bad to 
break it up." 

"It's just „ 

• • ,, J • , Ruth says similarity of 

n ' l' i_ S 3 i' temperament, not dif- 

Ruth soberly, ference, caused break 



"A Lady of Scandal. 

"The Crash," upon 

rumors 

But Ralph and I 





"Ralph and I 
are as alike as 
though we were 
close relatives. 
The same 
tastes, ideas, 
dislikes — 
everything. 
It becomes 
monotonous 
after a while. 
Marriage 
needs differ- 
ences in reactions, 
will always be friends." 

For a year, they have been denying 
the gossip of Hollywood — and doing 
it with obvious sincerity. They felt 
that some day there might come a 
parting, but they thought vaguely 
that it would come 
later — next year, 
some other time, 
not now. They are 
genuinely fond of 
each other, and 
eight years of mar- 
riage lie behind 
them. "It is a 
shock to make the 
break," they admit 
now. It was the 
first marriage for 
each of them. 
■'^ ' Once before they 

_^\^ parted, but for the 
' '~ ySf same reason did not 

get a divorce. They 
< / hated to take the 

final step, and 
presently in Hol- 
K wood they 
drifted togethei 
again. Ralph be- 
gan to take- Ruth 




> 



Both Ralph Forbes and George Brent have made love to Ruth 
Chatterton on the screen. At top, Ruth and her first husband in 



Lower, Ruth and her next husband in 
the completion of which she confirmed 
of divorce and new marriage 

to parties, and Ruth had Ralph to her 
house to dine. Presently, they took 
up married life again, and have con- 
tinued together for three years. 

Rumor, ever romantic, has brought 
the name of George Brent, her leading 
man in both "The Rich Are Always 
with Us" and "The Crash," into the 
situation. Until the time when Ruth 
confirmed the divorce rumors, George 
laughed at rumors that he was in love 
with anyone. 

A week after Ruth's Madrid an- 
nouncement, George told a reporter 
that he and Ruth planned marriage, 
but that the time and place were in- 
definite because of the divorce; he 
added that it had all been decided be- 
fore her departure, but that they hail 
tried to keep it a secret. 

One thing it is only fair to say. 
Money does not enter into the parting 
of Ruth and Ralph. When Ruth 
entered on her contract with Warners, 
involving a million dollars, Ra,lph in- 
sisted on signing away any com- 
munity rights in the contract. And 
Ruth has announced that the divorce 
will in no way affect their "pro- 
fessional partnership" — that they are, 
m facti planning to produce a play 
together in the Fall. 



M 



♦ MOVIE CLASSIC TABLOID NEWS SECTION ♦ 




Mae West, who writes plays about lurid sin 
and then acts in them (if the police don't 
interfere), makes her movie debut in "Night 
After Night." Her manager says she doesn't 
smoke. The cigarette above is just for effect 



Mae West, Broadway's 
Most Daring Actress, 
Drops Into Hollywood 

Playwright- Actress, Whose Plays About Sex 

Have Often Been Raided, Will Make One 

Film — Is Different From What Hollywood 

Expected 



By MADGE TENNANT 



TO thousands of people who love 
to be shocked, the name of Mae 
West stands for plays and novels 
that portray gilded and sexy sin. 
Every new Mae West production on 
Broadway brings a new gasp, thrill, 
blush, shudder, shock or shiver, 
according to the nature of the thea- 
tregoer. And now this blonde author- 
actress, whose plays abound with 
seductive sinners, effeminate men, 
Diamond Lils and gigolos, has come 
to the capital of sex. You will see her 
in "Night After Night," with Nancy 
Carroll and George Raft. And if the 
public likes her in this picture, you 
will probably see more of her. 

"Divine!" says Mae of Hollywood. 
But she didn't look especially happy 
when we saw her at the Legion boxing 
matches the other night, with her 
manager. She looked about her, 
frowning, and few people noticed her. 



"Oh, it's divine not to be recog- 
nized," Mae insists. "I'm so happy to 
be able to go about without being 
followed by crowds." 

Her manager adds: "I have refused 
a thousand dollars a night just to 
have Miss West visit a night-club so 
that they can advertise that she has 
been there. Despite popular opinion 
— probably because of the sensational 
nature of her plays — Miss West does 
not indulge in night life after the 
theatre. She doesn't drink, and she 
doesn't smoke. But she often sits up 
to three in the morning in her apart- 
ment, writing plays, novels, songs." 

If, as is claimed for her, Mae West 
is only thirty-one years old, she must 
have worked hard and fast to produce 
the enormous volume of Broadway 
successes, books, vaudeville acts, 
skits, and popular songs that have 
appeared under her name. Unkind 
gossipers who hint that she must have 
a ghost writer for some of her work 
are given the lie by her manager. 



"Most* people only talk about what 
they're going to do when they get the 
time," he says. "Miss West makes 
the time. She's the hardest-working 
little gal in the country. She has been 
on the stage since she was a child." 

In her colorful history, there are 
several trips to jail after her plays 
were raided by the police. But, un- 
daunted, she simply wrote another, 
even hotter, for the next season. 

Mae thinks that several of her 
plays would make good motion pic- 
tures, particularly "Diamond Lil." 
Hollywood, having seen pictures of 
Mae as the bosomy Lil, was hardly 
prepared for the lissom little blonde 
who stepped off the train. "And I 
haven't dieted, either!" she avers. "I 
never was fat. I never weighed an 
ounce over a hundred and nineteen. 
That was padding." Hollywood 
wonders if she will be a sensation in 
Hollywood, where sex is a trade mark 
and not a novelty. Time — and Mae, 
herself — will tell. 



32 



♦ THE NEWSREEL OF THE NEWSSTANDS ♦ 

Remember Baby Peggy? She's 
Back Again- As A Young Lady 

Famous Child Star, Who Had Made Her Million 

And Left The Screen At The Age Of Five, Is 

Now Thirteen — She's Still Full Of Mischief, 

And Will Play Tomboy In Comedy Series 

By EVELYN DERR 



REMEMBER "Baby Peggy," the 
^ mischievous, black-eyed urchin 
who was a star in silent pictures? 
She is returning to the screen — this 
time as Peggy Montgomery. She is 
now thirteen, tall, slender, and with 
the poise that a woman of thirty 
might envy. Her own generation 
(female) would term her "cute," her 




Meet Peggy Montgomery, 13, who used 

to be Baby Peggy — and still has those 

eyes. She has been growing up on a 

Wyoming "dude" ranch 



own generation (male) 
would call her "a babe." 

"There have never 
been any other child 
players exactly like me," 
says Peggy — not boast- 
fully, but in the manner 
of one stating an unde- 
batable fact. "I was a 
star at twenty months 
old. I had made a 
million when I was 
five." 

It was eight years 
ago that Baby Peggy 
left the movies to tour 
in vaudeville in an act 
with her father. Three years ago, the 
hard life of the four-a-day began to tell 
on the growing child. She had worked 
eight and a half of her ten years; she 
had earned — and, rumor says, lost — a 
fortune. Nature demanded her pay. 
Baby Peggy — for she was still so 
billed, in spite of length of legs — lost 
her appetite, couldn't sleep, grew 
alarmingly thin. 

The Montgomery's bought a ranch 
near Laramie, Wyoming, and Baby 
Peggy "retired." It was a "dude" 
ranch, which depended on boarders 
for a living, and the family employed 
no servants, the guests being waited 
on by Peggy and her sister, two years 
older. Cooking, washing dishes, study- 
ing at the district school with the 
four other pupils, and spending all 
her spare time in the saddle, Peggy 
regained her health (though she is 
still five pounds underweight, she 
says) and the memory of Hollywood 
and fame faded away. 

Once a year ago — the family 
brought Peggy to Hollywood to try 
her luck in the talkies, but a few 
visits to the studios convinced them 
that the time was not yet ripe for her 
return. She was at the growing, 




Mllltgan 
Baby Peggy, the only child who was ever a star at two, 
looked like this shortly before she left the screen, at 
the age of five. Her mischief delighted a nation 



awkward, in-between age. They re- 
turned to the ranch. 

Recently, the three Gleasons — 
James, Lucille and Russell — were 
signed to make a series of twelve two- 
reel comedies for Educational, fea- 
turing different sports. They needed 
a tomboy of thirteen or fourteen to 
play opposite Russell, and their need 
got into the newspapers. Imme- 
diately, they were swamped with 
letters and telegrams from parents 
and girls all over the United States, 
begging for the job. After one day of 
interviewing clamoring mothers and 
girls, Jimmy Gleason fled the scene 
and called his friend, Mary Pickford, 
to see if she could suggest any girl for 
the part. And with Mary when he 
called was Baby Peggy, come to paj 
a call on her old friends. She was 
engaged without a test. 

"I hope I'm back to stay," says 
Peggy (the "Baby Peggy" will be put 
after her name in parentheses in the 
billing). "But everything's new and 
different. My first day at the studio, 
I didn't know how anything was 
done. I'm ready lor high school, and 
I'll keep up with my studies at the 
studio. Beaus? I'm too busy!" 



( 



33 



♦ MOVIECLASSIC TABLOID NEWS SECTION ♦ 



Recently Divorced Star Begs Studio 
To Release Her — Longs To Rejoin 
Jaspar Deeter's Hedgerow Players / 
Little Theatre Group In East, With 
Whom She Got Her Acting Start — 
Would Forfeit $250,000 By Step 





M 



Ann Harding (left) is willing to give up screen stardom and a 

quarter-million dollars to return to the tiny Hedgerow Theatre 

(above), where acting was a thrill to her, not a business 



AnnH 



Wi 



By DON WINTERS 

THE secret is out. Ann Harding 
has offered to leave Hollywood 
and the screen — and the sooner, the 
better. "I want to go back to the 
Hedgerow Theatre." Thus she an- 
swered the question put to her by a 
studio executive : "And if we gave you 
your release, as you beg us to do, 
what would you do?" 

It has been rumored that she will 
no longer be starred; that blonde Julia 
Hayden, who looks startlingly like 
her, is being groomed to take her 
place; that her recent divorce from 
Harry Bannister has hurt her popu- 
larity. However, Ann is under con- 
tract to star for RKO until May, 
1933, and has four more pictures to 
make. The studio also holds an op- 
tion on her services for an additional 
year. 

The new RKO production execu- 
tive had asked Ann to meet with him 
to discuss her forthcoming pictures. 
Ann expressed her displeasure over 
the last two pictures given her, and 
announced that she would be happy 
to settle her contract without a finan- 
cial consideration. It isn't often that 
a star offers to sacrifice a quarter of a 



NN nARDING WILLING 

To Tear Up Contract 
And Abandon Career 



million dollars for an ideal. The 
studio official doubtless gasped as he 
denied this unusual request. His ex- 
hibitors, he said, demanded Ann 
Harding. 

In a story in the 
May Movie Classic, 
called "Some Things 
Ann Harding Has 
Never Told Till 
Now,"she related her 
affection for the 
Hedgerow Theatre. 
But she did not re- 
veal that her senti- 
ment was sufficiently 
strong to cause her 
to make an effort to 
bolt the movies and 
its money for a tiny 
Little Theatre move- 
ment. 

The Hedgerow 
Theatre is located in 
a wealthy Quaker 
settlement near 
Philadelphia. It got 
its name when Jaspar Deeter, its 
founder, rented an abandoned mill be- 
side a hedgerow to convert into a the- 




Ann wants to return to work 

with Jaspar Deeter (above), who 

made her an actress 



atre. Into this small group of strug- 
gling players came Ann Harding, a 
young girl seeking stage experience. 
She lived with the other actresses in 
a sort of community 
house. She found 
Jaspar Deeter a re- 
lentless taskmaster, 
a dynamo of energy, 
satisfied with noth- 
ing short of perfec- 
tion. She gives him 
full credit for teach- 
ing her all she knows 
about acting. He 
taught her the thrill 
of acting. 

Now, Ann wants 
to leave pictures, 
close her Hollywood 
home, take her little 
girl and go back per- 
manently to Hedge- 
row, where she will 
feel more at home. 
To do this, she will 
have to pay an enor- 
mous price in dollars, if allowed to 
have her way, but she will be compen- 
sated in contentment. 



34 




* 






m 




s 



SARI MARITZA 



Where did the little Dutch- 
English beauty with the 
Viennese name get those 
sad, dreamy eyes? She had 
them as The Other Girl in 
"Forgotten Command- 
ments." But in the last 
picture she made abroad, 
"Monte Carlo Madness," 
they were wide-open and 
sparkling. All of which seems 
to prove that a girl who is 
a comedienne in one coun- 
try may be a tragedienne 
in another. While waiting 
to start her second Ameri- 
can picture, she is renew- 
ing her friendship with 
Charlie Chaplin, who "dis- 
covered" her in London 

Rich* 




35 i 




Coburn 



Here's one of those Hollywood believe-it-or-nots — one of the 
talkies' best little heart-stealers dressed like a Girl Scout! (And 
showing an interest in wildflowers, of all things.) But Jill, who 
doesn't mind confessing she's English, can't see any sense in look- 
ing "dangerous" in her own backyard. (It's on a hilltop.) But 
in "Thirteen Women" — ah, that's a different matter altogether! 



JILL ESMOND 



36 



■I 







Powolny 



VIVIAN REID 



Well, well, well — see what's growing up in the gardens of Movie- 
tone City! Vivian is one of the many sweet young things who were 
transplanted from the stage when the movies went musical — and one 
of the few who survived the frost that followed. Since then, she 
has been going to dramatic school, playing "bits" between classes. 

1+ wnn't n» lr>nn now h<=>-fnrp chp will blossom 011+ i« +«*«-*** 



JV 




Hurrell 



The Great Lover of silent days once more puts his heart in his 
work — and the reason is the blonde girl in his arms. Watch him 
well in "Downstairs" (which he wrote, by the way), for it may be 
his farewell to acting. And Virginia's, too. If all goes as the 
advance publicity would have it, they will be married soon after 
a 4. i c;.^ — nnc | a f|- er fh e honeymoon John will turn director 



JOHN GILBERT 

AND 
VIRGINIA BRUCE 













Richee 



JEANETTE MACDONALD 
AND 

MAURICE CHEVALIER 



They're getting like Prohibition and Repeal — you can't mention 
one without thinking of the other. Except that neither Jeanette 
nor Maurice upset anyone; both amuse. And give the impression 
of also having a pretty gay time, themselves. At the present 
moment, in "Love Me Tonight," Maurice is showing Jeanette (and 
you) how an Apache of Paris could make love — if he really tried 

39 



•I 



^ 








JEAN HARLOW 

Like the cover, this close-up 
of the new Mrs. Paul Bern 
shows her with the red hair 
she wore for "Red-Headed 
Woman." And if you can 
tell where her own platinum 
blonde locks end and the 
titian wig begins, you must 
have a microscope. But 
Jean, who's very thoughtful 
these days, hopes you won't 
need a magnifying glass to 
as she really is, in 
ure. The story oppo- 
s you what she means 



Platinum 
Stardom 



Blonde Wins 
and Husband 

as a Redhead 



\ 



By 
Terrence 
costello 

JEAN HARLOW 
did the best act- 
ing of her career 
in "Red-Headed 
Woman" — and 
there was a very 
good reason. She saw 
in the role, flaming 
though it was, the 
dawn of an opportunity 
to be a new, more hu- 
man Jean Harlow. And 
her recent marriage to 
Paul Bern is likely to 
have a tremendous in- 
fluence on her future, 
also. Who knows? Some 
day, you may even see 
her as she really is! 

You haven't yet — 
for Jean is not the girl 
she seems on the sceen. 
Far from it, and much 
to the contrary. Some 
girls get the leaping 
jitters whenever they 
gaze upon an attractive 
man — and can't do 
anything about it, be- 
cause they look like 
meek little church mice; 
other girls look like 
Flaming Mamies to the 
boys, and deep inside 
are as cold as the pro- 
verbial herring. In a 
different way, the 
strange case of Jean 
Harlow also fits into 
the list of girls who are 
different from the way 
they look. 

For here is a girl 
who (professionally) 

appears as lureful, sinful, and committed to dark ways 
as any woman on the screen. Yet in real life she is as 
modest, gentle, well-bred, kindly and sincere as you'd 
find in a year's inspections of convents. 

It may be inferred that I approve of this young lady. 
I do. But 'twas not always thus. When duty first re- 
quired me to interview La Belle Harlow, it was with 




distinct mis- 
givings that I 
approached 
the task. 
Having 
viewed her in 
''Hell's 
Angels," 
"The Secret 
Six," "Iron 
Man," "The 
Public 
Enemy,'' 
"Platinum 
Blonde," 
"Beast of the 
City" and so 
on, it was a 
prej udiced 
attitude that 
I imported 
into her dom- 
icile. And pre- 
judiced not 
in her favor. 
But a half- 
hour with the 
delightful 
person who is 
Harlean Car- 
penter in real 
life and whose 
screen 
shadow bears 
the label 
"Jean Har- 
low," and I 
was getting 
all throat- 
lumpy with 
the injustice 
of her case. 
For here — 
and this re- 
porter has met practically all of them was one of the 
few young women of the cinematic world deserving of 
that much-misused term, "charm." And forced to dis- 
guise that charm beneath the spectacular ambush of all 
that platinum hair, jewelry, heavily made-up eyes and 
low-cut white satin for screen purposes! 
(Continued on page 74) 

41 



As the all-too-frank office wife of "Red-Headed 
Woman," Jean Harlow had a chance to win audi- 
ence sympathy at last. And as the bride of Paul 
Bern she is in love for the first time in her life. 
Out of the two new experiences may come a star 
who is like the Jean Harlow of real life! 



r 



Cecil B. De Mille studies a 
sketch of a mob scene for 
"The Sign of the Cross" — in 
which he will liken the 
modern world to the ir- 
religious Rome of Nero's 
day 



As in his previous 
spectacles, a dis- 
tinguished cast 
will enact "The 
Sign of the Cross," 
which De Mille 
has planned for 
thirty years. Clau- 
dette Colbert (be- 
low), in the most 
exotic role of her 
life, will play 
Poppaea, sym- 
bolizing women 
whose beauty 
works evil, not 
good 




Is Hollywood 
Doomed ? 



The famous producer of "The Ten Command- 
ments" predicts that the whole modern world, as 
typified by Hollywood, is facing the same fate 
that befell ancient Rome when Nero ran wild. 
Moreover, he's producing a spectacular picture 
to show the world just what he means! 



Dyar 



CECIL B. DE MILLE, prophet of the movies, has 
a new million -dollar message for the world. 
Civilization, he says, is approaching a ca- 
tastrophe; the modern world — Hollywood in- 
cluded — is facing the fate of ancient Rome. And he is 
going to show the world what he means in a spectacular 
picture, "The Sign of the Cross." He is going to draw 

42 



a parallel between those irreligious times and these. 
Here in Hollywood, says De Mille, is luxury beside 
which the glories of Nero's Golden House pale into in- 
significance — and it can't last, he predicts. Everywhere 
in the cities of the earth, in this year of our Lord 1932, 
he sees waste, extravagance and wantonness — and even 
schoolgirls learning how to be glittering, but wicked 



By DOROTHY CALHOUN 



ladies (who would put to shame the 
sirens of ancient Rome). How much 
longer, he asks, can all this last? 

"Whenever mankind has needed 
a leader to save it from catastro- 
phe," says De Mille, "one has 
arisen. Who knows? Perhaps the 
despised art of the sceen has been 
chosen to help humanity in this 
crisis! It isn't new truths the world 
needs — the old truths are still true. 
It is a warning that the world needs." 

In his new spectacle — the first 
he has made since sound was added 
to pictures — he believes, ardently 
and sincerely, that he is going to 
give not only entertainment, but a 
stern warning to the world to heed 
the fate of Rome and its punish- 
ment before it is too late. 

For more than thirty years Cecil 
B. De Mille has been planning to 
make "The Sign of the Cross" on 
the screen. During this time he has 
been studying every history, 
chronicle and record of the days 
when the gross, pot-bellied Caesar 
called Nero invented new pleasures 
to stir his sated appetites, and when 
a despised sect called Christians 
gathered secretly outside wicked 
Rome to reminisce about a car- 
penter of Judea, recently executed 
for sedition by the Romans. 

You Can't Ignore Him 

THIS somewhat bald, hand- 
some, charming man who, 
alone of his family, spells his name 
with a capital "D," is one of the 
most colorful human beings in 
Hollywood. You may ridicule what 
he says but you will quote him. 
You may criticize his extravagant 
spectacles as "hokum," but no 
critic can talk them ofF the screen. 
Well-born and well-educated, he 
cannot be dismissed by Holly- 
wood satirists as a "pants-presser 
producer." He is a good enough 



Right, a sketch of a 

"sixteen man-power 

t 

.( 
n- 







^ 






Above, an artist's sketch of a 
gown of ancient Rome — no 
more daring, says De Mille, 
than modern evening gowns. 
Left, top to bottom, a sketch of 
the interior of Marcus* luxuri- 
ous palace — like a spendthrift 
millionaire's home to-day; a 
sketch of a private Roman 
bath — hardly more lavish, says 
De Mille, then some Holly- 
wood baths; a sketch of 
Poppaea in her sunken bath 
("of asses' milk, not water," 
says De Mille); and a sketch of 
Nero "fiddling while Rome 
bums." De Mille says Holly- 
wood is filled with Neros 



business man to be a 
member of the Chamber 
of Commerce, a good 
enough artist to be in- 
vited to roam at will 
through Soviet Russia 
(where the artist is wor- 
shiped), and he is in- 
tensely religious, being 
the guiding spirit in 
many church movements 
and the founder of a 
handsome new building 
dedicated to the use of 
all churches and creeds. 
And he is also — to 
judge by his pictures 
something of an epicure 
in his love of display and 
luxury. Now he proves 
to be a historian, an 
economist and a prophet, 
as well. For in the 
rapid rise of the Roman 
Empire, its mad power, 
and frantic abandon to 
pleasure he reads a par- 
allel to the history of 
America, and in its un- 
looked-for fall and re- 
morseless punishment he 
foresees what may be 
(Continued on page 70) 

43 



kl 



¥ 



HERBERT MARSHALL 

is just the opposite of GABLE 

What manner of man is Herbert Marshall? That's what Hollywood wondered 
last year when his wife, Edna Best, ran away from film fame because she was 
"lonesome" for him. And the town's wondering it again now — with the young 
English actor on the scene, himself, to play opposite Marlene Dietrich! 



By Dorothy Manners 

WHEN Edna Best did her 
famous run-out on 
M-G-M and John Gil- 
bert last year, giving as 
her reason, "I am lonesome for my 
husband in New York," Hollywood 
tapped a figurative temple. For a 
young actress to walk out on a lead- 
ing ladyship with John Gilbert and a 
studio contract, merely because she 
missed her husband("of all people") 
was as unbelievable as a Ripleyism. 
The gentleman's name was Herbert 
Marshall. 

A year later, Josef von Sternberg 
became so insistent 
that Herbert Mar- 
shall, and no one else 
but Herbert Mar- 
shall, play the lead 
opposite Marlene 
Dietrich in "The 
Blonde Venus" that 
it was necessary to 
buy the rest of the 
run of his (and Edna 
Best's) Broadway 
show, "There Is Al- 
ways Juliet" (pay 
off the cast, the 
manager and the 
author's royalties), 
in order to close it 
so that Mr. Mar- 
shall could come to 
Hollywood. 

Is it any wonder 
that before the ar- 
rival of Mr. Marshall in Hollywood 
the old town was asking herself: 
"What manner of man is this that a 
girl gives up a career for him, and a 
studio buys out his play just to 
secure his services?" The consensus of opinion was that 
Herbert Marshall could be nothing short of another 
Clark Gable. To the contrary! 

Here is one of those devastatingly charming English- 
men. He is unlike any actor I have ever met. He is not 
a potential rival for the hysterical crown of Clark Gable. 
His is the very antithesis of the Gable appeal. The 

44 





Herbert Marshall, who 
refused to let lameness 
keep him from acting, 
is one newcomer who 
won't be accused of 
imitating Gable. Left, 
with his wife, Edna 
Best, who couldn't stand 
Hollywood last year 
without him 



wallop he packs is not 
to the point of the 
heroine's chin, but to 
her funny-bone, to all 
the fine points of her 
imagination and her 
zest for conquest of 
the unconquerable. In 
short, Mr. Marshall, 
off the screen, is very 
much as Ronald Col- 
man is on the screen — 
and mind you, Ronnie 
at his most charming. 
It becomes very clear 
why Edna Best Mar- 
shall did that run-out 
on Hollywood! 

What Makes Him 
"Dangerous" 

HE is medium-tall, 
and medium-dark 
in coloring. He is, I 
should judge, about 
thirty-two or thirty- 
three years of age. His 
speaking voice is low, 
humorous, English. 
But his real danger to 
women is this: he walks 
with a limp, a decided 
limp, all the more 
noticeable because he 
ignores it so com- 
pletely. Show me the 
woman who can resist 
the appeal of a hand- 



some, injured man, 
who presents neither explanation nor cogni- 
zance of that injury unless it is dragged out of 
him for the grinding mills of publicity — or to be 
polite to a curious reporter. 

We talked about everything under the sun 
before we got around to that limp ... of Holly- 
wood (incidentally, he is sold on the town) . . . 
of the charm of Marlene Dietrich and the likable eccen- 
tricities of von Sternberg . . . of Tallulah Bankhead, the 
amazing Tallulah, with whom he had played on the 
stage in London ... of the disputed script of "The 
Blonde Venus" ... of Edna Best's famous flight from 
Hollywood just when film fame beckoned . . . 
(Continued on page 66) 



COLLEEN 
MOORE 
comes back... 
and how 
the girl has 
changed! 






> 



X 



■^^ 




C. S. Bull 

It was almost three years ago that Col- 
leen waved goodbye — but she never 
said she wouldn't be back. And here 
she is, fresh from stage triumphs, newly 
married (to Albert Scott, broker), and 
without the "bangs" she made famous. 
She's a new personality, and eager to 
do new things. Welcome home, Col- 
leen — and long may you shine again! 



47 




Welbourne 



Wonder what Ruth Chatterton and George Brent — seen here in 
before-and-"after" effect on the gown shop set — talked about 
between scenes of "The Crash"? It was just after they finished 
this picture (their second together) that Ruth went to Europe and 
announced her plans to divorce Ralph Forbes. Wonder what she 
told George beforehand — and what George may have replied? 



WHAT DO MOVIE 
ABOUT BETWEEN 



48 




COUPLES TALK 
LOVE SCENES? 



Lippman 

There used to be romance rumors about William Powell and Kay 
Francis, too, every time they played together. But now Bill is 
very much married to Carole Lombard, and Kay is happily Mrs. 
Kenneth MacKenna. Between scenes of "One-Way Passage," 
while they relaxed on the set of the Singapore bar, what they 
did was to rehearse the next scene — with wisecracks on the side 



1 



49 



JT 






A 



SHEILA TERRY 

With Ann Dvorak staging a 
walkout, some other girl is 
going to get a big break — 
and it may be Sheila, who 
also got her start as a 
dancer. Maybe it's acci- 
dental, but in this pose she 
looks a bit like Dorothy 
Mackaill. Warners, anxious 
to discover what their new 
find does best, have given 
her a minor part in almost 
every picture they've made 
recently. Meanwhile, she's 
trying to keep cool and calm! 

Fryer 





Jean 



Harlow 

should make 
a good wife 
and mother! 

Maybe that's hard to believe, after seeing 
how "dangerously romantic she is on the 
screen — but Louise Rice, who s famous for 
reading character secrets in handwriting, 
says that Jean s writing proves it to be 
true. And she reveals many other things 
you may never have suspected about Jean! 



G 



By LOUISE RICE 

ENTLEMEN prefer blondes" has become 
an accepted saying, and if all blondes 
were like Jean Harlow, I could well under- 
stand their preference. But the amusing 
side of the matter is that most gentlemen will not 
accept Jean as she is, but as someone exotic and 
strange and hard to understand. Yet her handwriting 
shows that she is a sincere and friendly person, who is 
often puzzled by the reactions that people expect her 
to possess. 

There is a very good reason for this misunderstand- 
ing and that is found in herstrikingappearance, which 
does not rely on her platinum blonde hair, as proved 
by "Red-Headed Woman." But there is little pre- 
tense about this girl, as her handwriting shows — with 
its simple, clear and sometimes almost childish letter 
formations. She is a person who wants to live a sane 
and amusing life, with plenty of interesting work and 
the friendship and affection which are so necessary to 
a person of her type. She will always be just Jean 
Harlow, good, bad, or indifferent; and if you do not 
like her as she is, leave her alone — take it or leave it. 
(Continued on page 60) 









analyze Your Own handwriting 

Louise Rice has perfected a chart known as a Grapho-scope, which enables you to analyze your 
own handwriting. It will reveal your proper vocation. Also analyzes love and congenial friend- 
ships. Get one to-day ! Send your name and address to Louise Rice, MOVIE CLASSIC, 1501 
Broadway, New York, N. Y. Enclose a stamped (3 c 1 ), self-addressed envelope and 10 cents to 

cover clerical expenses. 

51 




\ 



Will Hollywood Change 

Paul Muni, Or Will He 

Change HOLLYWOOD? 



By CRUIKSHANK 



PAUL Muni is 
onehundred 
per cent Amer- 
ican. It wasn't 
always so. But Holly- 
wood has turned the 
trick — even where 
New York failed, as 
did a dozen different 
cities. It was Holly- 
wood that did the 
presto-change-o act 
which turned Muni 
Weisenfreund into 
Paul Muni. It was 
Hollywood that ripped 
the putty nose from 
Muni's face and called 
him from behind the 
whiskers of character 
roles to be the hand- 
some hero. And all 
this without the aid of 
mirrors ! 

It was Hollywood, 
too, that in the process 
of Americanizing the 
great star, made him 
"Scarface." And it is 
Hollywood that now 
casts this once Conti- 
nental trouper as a 
fugitive from a Geor- 
gia chain-gang. And 
what could be more 
American than that! 

Although Muni 
played, and played 
with distinction, some 
three hundred and 
fi ft y roles- in the 
Jewish Art Theatre 
during an acting ca- 
reer begun when he 
was less than a dozen 
years old, he might 
just as well have come 
to the Land of the 
Spree in 1926. Prior 
to that, although the 
idol of the East Side, 
his name was un- 
known and his fame 

52 




The movies changed his name, the first time he left 
Broadway — to be the first and only actor to play 
seven roles in one picture. The second time, he 
made "Scarface" — and that was the last word 
about gangsters. He isn't interested in stardom, 
but just good roles. If he gets them, Hollywood 
and you will get a glimpse of some REAL acting! 



unsung by Broad- 
way's bards. And so 
great is the distance 
between East Side — 
West Side, that the 
player might have re- 
mained in his native 
Vienna. 

In fact, the distance 
between New York 
and Hollywood, and 
the space between ob- 
scurity and fame, is 
more easily bridged 
than the brief step 
'cross-town. So when 
Muni did a hop-skip- 
jump to appear on 
Broadway in "We 
Americans," he en- 
tered a New World. 
And that's no figure 
of speech. For his 
part in "We Ameri- 
cans" was the first he 
ever played in the 
English language! 
Each of the dramatic 
big-bugs pompously 
"discovered" the 
youngster who had 
enacted countless roles 
less than a dozen 
speakeasies away 
from their blazed 
trails. 

He was "this brave, 
new player"; the 
"newly discovered 
Warfield"; the "find 
of many seasons." 
And Otto (the Great) 
Kahn boldly quoth 
that "Wisenfrend 
has the finest future 
of any actor to-day!" 
Note, incidentally, the 
way Otto spelled the 
name. That was 
Broadway's idea of 
simplification! 

But the wise guys 
of the Cinema City 
weren't on their toes. 
And when "We 
{Continued on page 71) 



His 



eyes don't stray to other faces 
since I took my beauty experts advice 



She said: "Start tonight! Apply this beauty treatment to your skin. 
Use this soap rich in olive oil. See how yielding softness — youthful 
firmness returns to the skin." 



WARNING — to careless youth — to 
discouraged age — to women of all 
ages who know . . . but too often forget, 
the lure of a soft, seductive skin. 

Don't ignore it! Never forget it! Re- 
member — there is a simple, easy way to 
guard the inviting skin of youth ... to 
win back the charm that you may think 
you are losing as you grow older. 

Olive oil in soap is the answer. Doc- 
tors advise it from the time of baby's first 
bath — even an olive oil rub before baby's 
first bath. Beauty experts are unanimous 
in advising it to their patrons. In fact, 
nothing compares with the softening, 
soothing, firming effect of olive oil. 

But how to use olive oil. The answer js 
Palmolive Soap. For Palmolive chemists 
know the exact proportion of olive oil 
needed to produce a genuine cosmetic 
effect in soap. 

Remember — beauty claims don't make 
a beauty soap. A real beauty soap must 
have a known beauty ingredient. 
Palmolive's beauty claim is based on olive 
oil. Don't expect beauty results from a 
soap that does not contain Palmolive's 
generous olive oil content. 

Watch — expectantly, confidently for vis- 
ible results from Palmolive. Notice how 
satiny smooth and clear skin becomes 
after regular use of Palmolive Soap. 




"Don't try this, that and the 
other thing. Olive and palm 
are the finest of cosmetic oils. 
Palmolive combines them for 
youin an excellent skin cleanser. 
I endorse its use after prolonged 
experiment in my salon." 

Elin Dahlstrand, 
Stockholm's most distin- 
guished beauty expert. 





1 



\\SUL^> jJrujJr ScJLm>ta^Jl QAyraj^yjUx^ 



5.? 



1 



'j 




eens 



. lwenties 



WHICH STAR IS 



I'm 1 8" 

VIRGINIA LEE CORBIN 




JEAN HARLOW 



I'm 27" 



DOROTHY MACKAILL 




I'm 

LSE MARVENGA 



Beauty is 
not a matter 
of Birthdays" 

Screen Stars declare — 
and these pictures prove it 

Which one of these lovely favor- 
ites is near your age? Do you, 
too, know that beauty is not at 
all a matter of birthdays? "We 
must keep youthful charm right 
through the years," the stage 
and screen stars say — "in spite 
of birthdays!" 

Looking at these recent photo- 
graphs you want to know their 
secret! "To keep youthful charm 
you must guard complexion 
beauty very carefully," they de- 
clare. "Youthful skin is abso- 
lutely necessary." 

How do these stars stay so 
ravishingly young looking? How 
do they guard complexion beau- 

Lux 



54 



Thirties _ Forties _ 

NE ARE ST YOUR AGE ? 






"IJ. 



30" 



I'm 

JUDITH ANDERSON 



ty? "We use Lux Toilet Soap," 
they say. "Regular care with 
this nice white soap does won- 
ders for the skin!" 

No matter what their age, they 
find in this luxurious soap the 
perfect complexion care. 

"I'm 18," says Virginia Lee 
Corbin, "but already I've begun 
to take regular care of my com- 
plexion with Lux Toilet Soap." 

"I'm 40," says Irene Rich. 
"Keeping the velvety youthful 
texture of your skin is mighty 
important. I've used Lux Toilet 
Soap for years." 

How 9 out of 10 Screen Stars 
guard complexion beauty 

Of the 694 important Hollywood 
actresses, including all stars, 686 
guard their complexions with Lux 
Toilet Soap. It is the official soap 
for dressing rooms in all the 
great film studios. 

Why don't you try this gentle, 
fragrant white soap — start using 
it today! 





"I'm 34" 



BEVERLY BAYNE 



I'm 

ETHEL CLAYTON 




I'm 

IRENE RICH 



Toilet Soap 



55 



"I 



Is Marlene Dietrich Being Frightened Away From America? 



Causes of Her Unhappiness 

AND then she was told that she must not 
i mention her child, must not wear the 
locket with Maria's picture, which she 
showed proudly to everyone. She was be- 
wildered. Why shouldn't she tell she had a 
child? A beautiful little girl whom she 
adored ? Why would Americans not like her 
so well on the screen if they knew she was a 
mother? What strange people! She did not 
— could not — forebear talking about her 
child. 

By this time the press began to print 
many things that Marlene did not under- 
stand. Often she was deeply hurt. Once, 
in a burst of tears, she fled from an inter- 
viewer when the writer compared her to 
Greta Garbo. 

Her recent quarrel with Paramount, when 
she declined to make a picture with another 
director than von Sternberg, added to her 
unhappiness. Marlene has been very lonely 
in Hollywood and von Sternberg has proved 
a staunch friend as well as a careful, sensa- 
tionally successful director. At first she 
tried going to parties, but she stood at one 
side, gazing wonderingly at the strange ways 
in which Americans amused themselves, 
listening with growing boredom to the con- 
tinual talk of pictures and contracts which 
is Hollywood's social chatter. Now Marlene 
does not go to many parties. Her men 
friends can be counted on the fingers of one 
hand — -von Sternberg, Hans von Twar- 
dowski, Maurice Chevalier. Her close 
women friends would leave several fingers to 
spare — Joan Crawford, Tallulah Bankhead, 
Bebe Daniels, and a Viennese princess mar- 
ried to an American business man. 

A foreigner's confidence in the safety of 
our institutions must have been sadly 
shaken by the huge losses of Nils Asther, 
and other foreign stars in the Hollywood 
bank failure. "I had not a penny in that 
bank," Marlene declares, "but many of my 
friends had." 

However, it was when her secretary, 
opening the morning mail, came on a kid- 
naping letter, a demand for money, a threat 
to steal little Maria, that terror of what 
could happen in this country must have 
struck Marlene's heart. Bewildered and 
frightened by a series of unpleasant events, 
it is easy to believe that when Marlene goes 
to Europe soon, she may not return. 

Has No Permanent Ties Here 

SHE has formed no permanent ties. Her 
life here has been lived in temporary 
fashion. Unlike a majority of stars, who 
first sign a motion picture contract and 
then rush out and buy a house, Marlene has 
chosen to live in rented homes. 

"Why should I buy a home in Holly- 
wood?" she asks. " I rent a very nice house. 
It is suitable for Maria and me and I have 
no responsibilities, like taxes and other 
bothersome things. I do not intend to buy 
any real estate here. I don't want to be 
tied down." 

Marlene is very frank in her determina- 
tion that Maria shall be raised in Europe. 
She does not attend an American school but 
has her lessons at home with a German 
governess. 

"I want her to have a fine education, an 
education that she can get only in Europe," 
Marlene says, frankly. "I want her to be 
surrounded by European culture. After all, 
she is German and it is better for her to be 
brought up in her own country." 

Inasmuch as Maria is now nearly eight 
years old, her "bringing up" must necessar- 
ily start soon, which lends weight to the 
rumor that Berlin will soon be Marlene's 



{Continued from page 23) 

permanent address. Little Maria told me 
that she does not want to go back to 
Germany. Just now she is very much enam- 
oured with her swimming pool, the beach, 
going to the studio to have lunch with her 
mother and playing around the sound stage 
with little Dickie Moore, who is working in 
"The Blonde Venus" with Marlene. 

But the child's play has been considerably 
hampered since the kidnaping threats were 
received. She is no longer allowed to run on 
the beach. She must always be within sight 
of her governess and two heavily armed 
guards. When she goes to the studio to 
meet her mother, she is accompanied by the 
governess, the chauffeur and a guard. 




Unhappiness doesn't alter Marlene's ap- 
pearance much in real life. But this is 
how she appears after hard luck comes 
her way in "The Blonde Venus." Com- 
pare with the exotic platinum blonde 
dancer on page 23 

When Marlene received the first threat 
note, she immediately turned to Mr. 
von Sternberg; before he even notified the 
police, he sent one of his most trusted em- 
ployees to Marlene's house to protect her. 
Later it was discovered that this man, sent to 
guard Marlene's own house, had been con- 
victed of a federal offense. Isn't that enough 
to destroy her confidence in anyone? 

How She Has to Be Protected 

A SUCCESSION of threats followed. 
Iron bars were placed over every win- 
dow in the house, making it look like a high- 
class private jail. A double lock was placed 
on every door; the iron gate padlocked: an 
elaborate electric alarm system installed. 

No one can walk down the quiet street 
on which Marlene lives without being 
watched by two guards. If anyone hesitates 
even for a moment, he is immediately sus- 
pected, questioned. 

Inside the house a German police dog, 
powerful and intelligent, guards his youth- 
ful mistress. During the first few weeks 
after the threats were received, the dog 
became ill. 

"He's a sick dog. You'll have to leave 
him in the hospital for a few days," the 
veterinary said. 



"Sick or well, he must be home tonight," 
Marlene replied. She had faith in her dog. 
He is German! 

Alone in a strange country, not under- 
standing our little kidnaping habits, can 
she be blamed for being afraid? And 
Marlene has been afraid. It is whispered 
that she is on the verge of a nervous break- 
down. When an enterprising news service 
photographer recently dodged the watchers 
on the lot and caught a snapshot of her 
walking with a burly detective, which was 
printed in the next morning's papers, Mar- 
lene was so overwrought that she had to 
leave the studio for the day. 

When her husband, Rudolph Sieber, re- 
turned to Europe after his recent visit, 
underworld threats forced him to cross 
Chicago and New York under a heavy 
guard of private detectives. Even her 
friend, director and discoverer, Josef von 
Sternberg, has been advised to take pre- 
cautions to protect himself. Iron workers 
spent a month installing artistic, but effec- 
tive grille work over the windows of his 
Hollywood apartment. The back door, 
while an ordinary door to the casual ob- 
server, is lined with bullet-proof steel. He 
also keeps two German shepherd dogs, one 
wire-haired terrier and one Scottie in the 
apartment. When he drives out in his 
shining limousine, he is accompanied by his 
chauffeur and two armed men. 

How She "Helped" the Police 

CHIEF BLAIR, of the Beverly Hills 
police force, and District Attorney 
Buron Fitts are enthusiastic in their praise 
of Miss Dietrich. 

"We immediately branded the kidnaping 
threats as the work of an amateur, either a 
crank or a disgruntled servant, but we had 
to take the same precautions that we would 
have, if we had thought the threats came 
from an organized band of racketeers. For 
an amateur can be just as dangerous," 
Chief Blair says. "The night we set the 
trap for the would-be kidnapers, who did 
not appear, Miss Dietrich refused to go to 
bed at all. She wanted to be in on every- 
thing. At the dinner table she kept jumping 
up from the table to wait on us, although 
she had adequate help. And all night, she 
kept rushing to the kitchen every hour or so 
to make coffee for the men. It seemed to 
give her great satisfaction to do things per- 
sonally. She felt that she was helping." 

It was during this time that Marlene's 
husband, Rudolph Sieber, had to leave for 
his work in France. Can you imagine his 
emotions at leaving his wife and baby under 
such circumstances alone in a strange 
country? "I'm satisfied that you're doing 
everything possible to protect my family," 
he told Chief Blair before leaving. "But — 
for God's Sake, catch those men and shake 
them down." 

"How do you shake men down, Chief 
Blair?" asked Maria, enthralled at the 
interesting prospect. 

But it is Marlene who has been shaken, 
shaken out of her sense of security, shaken 
out of that Teutonic calm that has masked 
her emotions so effectively since she came 
to Hollywood. Who could blame her if she 
prefers to return to Europe to stay? Her 
husband, her family, her friends are there. 
She is financially able to retire from active 
work this minute if she wishes. If she 
doesn't wish, she will surely have no trouble 
in getting all the work she wants in Europe. 

Will " Deep Night," the picture scheduled 
to follow "Blonde Venus," end Marlene's 
American career? Have we frightened 
away our best-beloved German star? 



56 



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most radical advance in sanitary protection 
since the invention of Kotex itself in 1920 



the new 

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SANITARY NAPKIN 
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FROM THE makers of Kotex comes this 
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women. Announcement of an utterly new 
design in sanitary protection. 

The new PHANTOM* KOTEX — called 
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Do not be confused. Other sanitary pads 
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Other Kotex features retained 
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Note! Kotex — now at your dealer's — marked 
"Form-Fitting" is the new Phantom* Kotex. 





1 o ease 

the task of 

enlightenment 

This message is sent to 
parents and guardians 
in a spirit of con- 
structive helpfulness. 



THIS year — some five 
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will face one of the most try- 
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day. ' ' 

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To secure a copy without 
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parents or guardians may /i/l 
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They Told George Brent That 
He Was Going Blind! 



(Continued from page 26) 



"And, again, I 'saw' myself as a boy run- 
ning barefooted over the bogs in the early 
morning. I found that I could see it in my 
darkness as clearly as I had seen it then — 
the peaty soil, the mists rolling back. I 
could smell the Spring in the air and I knew 
that I didn't need to see it. There it was, 
as it had been, forever in my possession — 
in my memory which, thank God, had eyes. 

"I could 'see' the Autumn mornings 
when we went out, my Uncle and I, to round 
up the sheep who were lambing in the fields. 
I remembered their mournful, questioning 
eyes, the soft sounds they made. I could 
see again the dark, dank, warm little houses 
we carried them into to bring forth their 
young. I could smell the sweet, warm smell 
of the milk I fed the babies out of nursing 
bottles — forgetting, then, that I was a shy 
and not very happy little boy, conscious 
only that I was doing the best I could for 
creatures in distress. I found that I could 
'see' birds nesting and could remember the 
sight and smell of blossoms in the trees. 
Things I thought I had forgotten, things 
that might have been trivial once, came 
back to me then. 

Decided What Real Love Was 

AND one face — one face came back to 
l\ me. The face of the girl I loved 
when I was fifteen. The first and only girl 
I have ever fallen in love with — until now. 

"I believe we underestimate youth and 
the depths of youth and the sufferings and 
permanence of the emotions of youth. We 
are liable to say, 'Oh, he's young (or she's 
young). He'll get over it.' Not necessarily. 
/ never have. No, I haven't seen her for 
years. A great many things have happened 
since then. I believe she is in London. 
She's a writer. But believing that I was 
going blind, somehow, it was her face I saw 
again — and I felt that it would stay. I 
didn't know Ruth then. 

"Faces and memories in the darkness 
start a train of thought. I thought of the 
different kinds of love. There is only one 
real kind, I decided. And it is NOT the 
kind based on sex appeal. There is too 
much stress laid on physical attraction. A 
certain amount of it is necessary, of course. 
But I should say that at least seventy-five 
per cent of love should be mental, should be 
companionship and sympathy, the one with 
the other. It is the most devastating thing 
in life — this physical attraction and the 
havoc it brings. It is so cheap, and the 
other kind so rare. 

"I know — because I went through that 
sort of thing, too. I married it. And I 
went through Hell for nearly two years, 
although the marriage itself lasted less than 
six months. 

"Perhaps it is because of experience that 
I know I could never lose my head now, 
over publicity, over flattery, over the flat- 
tery of women, which means absolutely 
nothing. None of it is sincere. None of 
them care about you. When the curtain 
goes down and the key is turned in the stage 
door, you cease to exist as a person. 

Only Sensitive Women Matter 

THE only kind of woman who inter- 
ests me is the intelligent woman. I 
don't care about the outside. If I were 
blind, I couldn't see the outside. I never 
pay any attention to that sort of thing any 
more. I know that it is what is inside that 
counts. If the two people who are the right 
people for each other can get together, can 
make for themselves a beautiful life by 
working at it, there is nothing in life so 



worth while. I think sensitiveness, the one 
to the other, is the most important thing. 
Looks and physical attraction are the least 
important things. It is because I know now 
what I want that I have been amused and 
not a little amazed when I have read and 
heard things about myself — romance ru- 
mors linking me with ' sweet-and-pretty ' 
flappers, for instance. Let's get back to the 
darkness. . . . 

"I remembered, when I was 'blind,' the 
most hideous thing I had ever seen. Un- 
fortunately, things you would like to forget 
stay with you, too. I was a youngster of 
nine or ten. A soldier came home from the 
War — a stranger with a strangely terrible 
face. One day, suddenly, he opened his coat 
and showed me his breast and his shirt — 
alive with lice. I thought then, as I think 
now, that I had never seen a sight so hor- 
rible. Somehow, I saw the whole War in 
that man's misery and ignominy. 

"And I saw, too, in that darkness what 
came to me as the most beautiful thing I 
had ever seen. No, not a woman's face — 
but a lighted ship that had passed my ship 
in the night. Ships that pass in the night — 
I knew that they would remain with me as 
the most beautiful things my eyes had ever 
seen. 

" I came to America for the first time 
when I was eleven. And that memory re- 
mained with me, too, though I hadn't 
thought about it for many years,. I could 
see the dark waters and the averted and 
voiceless faces of my fellow-passengers, 
watching for the deadly periscope. 

May Never Read Much Again 

FRAGMENTARILY, here and there, 
other pictures etched themselves on 
my darkness. The face of Ethel Barry- 
more for one. I could see her, sharp and 
clear, as I had seen her seated one night in 
the theatre. That raking, unforgettable 
nose of hers, that look of serious, intense 
concentration on her face, the way she 
always looks when she is watching a play. 
I had not known until then how vivid her 
face was to me. I think the face of Joan 
Crawford would have stayed with me. 

" I saw myself as a kid, stealing candles to 
read by at nights. The books I'd read — 
stacks and stacks of them. That was, 
partly, what ailed my eyes, of course. The 
enormous amount of night reading I had 
done, trying to learn, trying to be something 
had, apparently, come to — this. I didn't 
regret it. My only regret was that I could 
never read again. / may never be able to 
read again. My studio script, Odd Mc- 
Intyre's column and the sports page are all 
my reading matter now. 

"I could see the plays I'd done, the ones 
I especially cared about — ' Seventh Heaven,' 
'White Cargo,' 'Lilac Time,' 'Interfer- 
ence,' a few others. I knew that I would 
miss tennis and I could see, vividly, sets I 
had played, certain sets where I might 
have done this instead of that — I played 
them over again on the dark courts of my 
mind. I was glad that I cared about music. 

"Now it seems to be all over. The doctor 
was wrong. My eyes are pretty nearly well 
again and except for the fact that I cannot 
read, I have no fears -and few deprivations. 

"Someday, when I have the money I'd 
like to have, I know where I shall live. A 
certain place, some seventy-five miles out- 
side of Paris. Ruth loves it, too. I'll have 
my own home— and children, I hope. 

"I thought I was going blind. But I 
think I found more light in my darkness 
than I ever found in the sunlight." 



58 



Maybe you think you can't use soap on your face- 



But read what Science says about that 





. . . conducted by 15 eminent dermatologists* 
. . . 612 wormn registered as patients in 14 
cities 

. . . each woman cared for left side of face by 
own chosen method 

... w.i .1,- I right id* offaci with Woodbury's 
[■ ... 1.1I 

. . . Half-face Test continued 30 days 
. . . do< toi i- - ..I led skin conditions on both 
sides of face weekly 

«.. case record r show ed gr< at< 1 improvement 
on Woodbui v idc in Si casi of dry, en itive 
■kin, if ; cases of oily skin, 103 cast sof black- 
heads, • ) cast . <<! large pores, 106 cases of 
pimples. 

*ln accoi il ethics, the 

names of these physicians cannot !"■ adver- 
'1 ed They are on file with the Editoi oj this 
magazine, and are available to anyone gen- 
uinely interested. 



TUNE IN on Woodbury's Fridays, 9:30 P.M., E.D. .1.1 eon Belasco Orchestra. WABCandColumbiaNetwork. 



BfAUTY Tf ST 

proves that Woodbury's brings love- 
iness to the most sensitive skin! 



Of 612 women who registered in a nation-wide 
Beauty Clinic, many thought their complexions 
too sensitive tor soap-and-water cleansing. 

Under the dermatologists' orders, each of these 
women continued to pamper one side of her face 
with creams alone . . . but the other side of her face 
she washed every day with Woodbury's Facial 
Soap. 

In a week, that "sensitiveness" disappeared on the 
Woodbury side. In 30 days, the Woodbury cheeks 
were smoother, firmer, clearer, brighter. 

If you think you can't use soap on your skin, make 
this "Half-face Test." Keep on coddling one cheek. 
Wash the other cheek daily with Woodbury's. In a 
month, the Woodbury side will lose that sensitive- 
ness, that dull, flabby droop. 

Your skin needs creams, too. But, first of all, it 
needs zestful cleansing with Woodbury's Facial 
Soap. Because it quickens the natural replacement 
of skin cells, Woodbury's keeps the skin new look- 
ing, transparently clear. Because it stimulates cir- 
culation, Woodbury's makes the skin bright, color- 
ful, and firm. And, by keeping pores free of im- 
purities, Woodbury's acts to improve skin texture. 

In these things, Woodbury's does much more than 
an ordinary toilet soap. It is made ol the finest oils 
. . . but, besides, it contains cosmetic substances, 
expensive balms, and essential oils not found in 
ordinary soaps. Because ot iis special formula, 
Woodbury's is in itself a scientific 
beauty treatment in cake form. It has 
been used by millions of women fir 
over ■< generation. Begin today to use 
it on YOUR skin. You can buy Wood- 
bury's facial Soap at drug stores and 
toilet goods counters everywhere. 



COUPON I' or PERSONAL BEAUTY ADVICE 
Jomv II. Woodbury, Inc. g i Ufi d St., Cincinnati, Ohio 
In Canada, John II. Who, limn, Ltd., Perth, Ontario 
I would like advice <>n my -Am < ondition as che< Iced, also week- 
end kir containing gcncrou sampli "I Woodbury*. Facial 
Soap, Woodbury's Cold Cri am, I aciali 'ream .unl Facial Pow- 

l ' VI i of "Index to Loveliness." For this I enclose io«. 

Oily Skin O Coarse Pores O Blackh 

Dry Skin O Wrinkles O Sallow Skin 

I labby Skin O Pimples O 



Namt- 






y 1932, John H. Woodbury, tnc 



59 




It's like NEW, Marie!" 

Oui, Madame. I use IVORY SNOW, 
It makes soft suds without hot 
water, so the colors do not run." 



Easy dissolving in lukewarm 
water— keeps colors clear . . . 

Ivory Snow is an advanced kind 
of soap for washing delicate fab- 
rics. Instead of being cut into 
hard, flat flakes, Ivory Snow, in 
its liquid state, is BLOWN 
through sprayers so that it dries 
in a mist of tiny, soft bubbles. 

These bubbles are thirsty. No 
hot water is needed to dissolve 
them. They melt into quick, 
rich suds in water that is just 
LUKEWARM. No danger, 
then, with Ivory Snow, of mak- 
ing colors run, of making tex- 
tures harsh and stiff by plung- 
ing your woolens, rayons, or 



printed silks into too-hot suds. 

No floating particles — no 
soap spots . . . The round bits 
of Ivory Snow leave no flat 
particles floating in the water 
which can stick to fabrics and 
cause soap spots. This is one 
reason why Mallinson, Cheney 
Brothers and Truhu, as well as 
weavers of woolens and blan- 
kets call Ivory Snow "the per- 
fect soap." It is especially good 
for this year's "nubby sur- 
faced" silks, woolens and cot- 
tons. 

Get Ivory Snow from your 
grocer. See for yourself how 
convenient it is — how it saves 
your clothes. Don't be afraid 
to use enough to make a thick 
suds. Ivory Snow is pure — as 
gentle to fabrics as Ivory Soap 
is to a baby's tender skin. The 
suds rinse easily. And the extra- 
big package costs only 15c. 

Copr. 1932. Procter A Gamble Co. 



99£% PURE 



Jean Harlow Should Make 
a Good Wife and Mother! 

(Continued from page 51) 

Some good elf gave her priceless gifts 
when she was born that have helped her 
greatly in her upward climb toward star- 
dom. Those gifts are hope, ardor, and 
enthusiasm. Note the persistent upward 
trend of her handwriting, which is not 
artificial, but natural, and shows her op- 
timism and courage. Her will power is only 
fair, as you will notice if you look at her " t " 
crossings, which vary a good deal. Look at 
the "t" in the word "article," which does 
not really cross the letter and which shows 
procrastination. 

This procrastination, however, will not be 
shown so much in neglect of her work or 
obligations, but in a slight shrinking from 
anything unpleasant or painful. It will 
probably have more to do with personal 
matters than with her professional duties. 
For her handwriting shows that she should 
be a "good trouper" — willing to give of her 
best work at all times, and directors who 
are not too carping and critical should find 
her very pleasant to deal with. 

Easygoing, But Can Scratch 

POSSIBLY, the procrastination has some- 
thing to do with being indolent or lazy 
when she has nothing really important to 
occupy her mind. For she loves to be com- 
fortable, and I can almost see her basking 
and enjoying things just as a fluffy Persian 
cat would enjoy sunshine and good food 
and luxurious surroundings. Like a cat, she 
can also scratch if you try to bother her or 
are unfair to her or to anyone for whom she 
cares. For she has a quick temper, although 
not a long-lasting one, and can say some 
very cutting and sarcastic things when she 
is angry, in spite of her good nature. 

Her slight weakness of will power has 
been greatly strengthened by the vivacity 
and the forward surge of her writing, for- 
tunately for her, and her "f," which is tied 
in the middle, shows persistence. Note her 
rounded letter formations and the right- 
ward angle of her handwriting which shows 
her genial, adaptable nature and indicates 
that she is really a person of simple tastes. 

I do not mean that she would be content 
without money and luxuries or to live the 
"simple life" in seclusion and without op- 
portunities of any kind. But there is not 
found here the real extravagance which 
loves to throw away money for effect and 
for useless foolish things. There is no such 
vanity and stupidity in her writing. Jean 
will love to spend money, but she has too 
much of a practical nature to be willing to 
squander it for nothing. But I do see that 
she would toss away a good deal if she felt 
that she could get more when she needed it, 
and she is in no sense a hoarder of money. 

I hope that she will be wise enough to have 
some "hard-boiled" manager to handle her 
business affairs. Her greatest danger is that 
some slick person will work on her sympathy 
and affections and "take her for a ride," 
either emotionally or financially. In spite 
of the shrewdness shown in her closed "b," 
she will instinctively respond to a cry for 
help, without stopping to count the cost, 
when it is from anyone who is clever enough 
to show a real need for it and who has the 
personality to attract her attention. 

Never Gives Up a Fight 

THE strength of her character is that it is 
progressive. No matter how many 
times she gets a knockdown blow, she will 
be able, like a good prize-fighter, to pick 
herself up before she is counted out and to 
push onward toward her goal. Her nature 
at the present time is almost youthfully 
immature, in spite of the fact that she has 



60 



accomplished a great deal from a profes- 
sional point of view. She may even give the 
impression of being hard and selfish but, if 
so, it is put on to protect herself from too 
many demands upon her time. 

In this small specimen of her handwriting, 
I can see how she is maturing. Notice the 
words "Please know" and see how almost 
childish are the letters. Now look at the 
word "grateful," which shows more mental 
formations, while the words "with pride" 
are quite sophisticated and individual. In 
the fine simplicity of the capital " H " in the 
word "Harlow," with its long cross-bar, 
like a sign which is pointing onward and up- 
ward, and her high upper loops, we see her 
ambition and progressiveness. 

Speaking of the word "Harlow," it is 
rather interesting to find in it a wide open 
"oi' and "a," which show emotional gener- 
osity, although most of these letters are 
closed in the body of her note. But there 
are some hooks in the "H" and some of the 
ending strokes, which give her some posses- 
siveness, so that she will not be blindly 
foolish in giving of her time, affections or 
money, except on occasions. I do not find 
that she is in the least vain from the in- 
grown tendency to be absorbed in herself 
and her desires to the exclusion of every- 
thing else. 

Yet she enjoys praise and admiration and 
appreciation which are almost necessities 
for the Vital Type, especially with the up- 
ward movement in the handwriting. For 
such writers do not enjoy shadows, but love 
sunshine and action and a full life. They are 
more successful where they are not confined 
to uninteresting work or companionship 
with irritable people, or too much restraint 
of their natural tendencies. Her extreme 
good sense, I suspect, gives her the ability 
to be clever enough to show even less vanity 
and selfishness than she feels. 

Is Willing to Be Taught 

FOR Jean Harlow is no saint in a stained 
glass window but, like a child, does not 
really mean to be disagreeable, and is 
usually sorry and asks forgiveness after- 
wards, if she is. She is most certainly im- 
pulsive, impatient and independent, and it 
would not be strange if the admiration 
which has been showered upon her should 
make her feel, somewhat, her importance. 
But even if she makes you angry, she has a 
way with her that makes you forgive her. 

While her individuality is not her out- 
standing point at present, she has unusual 
ability to profit by experience, and a willing- 
ness to be taught in her desire to do good 
work. There is a very good chance for her 
to go from one success to another, if her love 
and affection do not interfere. Her rounded 
letter formations show that she could be 
a good wife and mother and make her home 
attractive and comfortable. If Paul Bern, 
her new husband, is dynamic enough to hold 
her love and, at the same time, to give her 
the opportunity for artistic development 
along other lines beside the screen, I would 
not be surprised to see Jean Harlow give 
up her present profession in a few years 
except for occasional intervals. 

There is so much rhythm and movement 
in her writing that she will not be satisfied 
with only home and social duties. But some 
of the other creative arts such as music, 
writing, or the handling of colors such as 
murals, or the designing of stage sett ings or 
clothes should keep her active mind busy 
and give her pleasure, if she has the pattern e 
to get the necessary training. 

She will change greatly in the next few 
years and her marriage will have a great 
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Yankee Doodle Dandy Is 
in the Movies Now 

(Continued from page 21) 
No one seems to remember just how long 
it has been since the first flag-waving suc- 
cess of George M. Cohan, which began 
many years ago in vaudeville. The Four 
Cohans (mother, father, George and his 
sister, Josephine) learned early that Ameri- 
cans are continually thrilled by America, 
and patriotism has been the cornerstone of 
practically all of his successes. 

Cohan, the man himself, reminds you of 
Jackie Cooper, say, forty years later. He is 
the folksiest, easiest-going celebrity who ever 
trekked three thousand miles across the 
continent, to put his feet on a borrowed desk 
in a publicity department and talk in kindly 
slang out of the corner of his mouth about 
Hollywood and movies and Broadway. 
When somebody protested that he neither 
looked nor acted like the advertised slogan 
for "the spirit of Broadway," Cohan said: 
"Why should I? I'm Irish and New England 
originally. The first ten years I lived in 
New York, I didn't unpack my trunk. I 
was scared of the town." 

Denies He's Scared of the Movies 

IT was reported that he was so afraid of 
his talking picture experiment (he had 
made several silent pictures years ago) that 
he turned back in Chicago after the first lap 
of the journey, only to be persuaded to 
carry through later. But George M. denies 
this. The only time he ever backed out of 
the movie game was two or three years ago 
when he and Joseph Schenck were planning 
to form a company together. At the last 
moment, Cohan decided that the business 
end of the movies was not his game. 

Now that he has been in Hollywood 
several weeks and has "sat in" on a baker's 
dozen of conferences, he is convinced it 
isn't. He says that in New York, when you 
want to put a show on the boards, you 
write it and work on it. In Hollywood, 
when they want to put a picture into pro- 
duction, they just sit around and talk about 
it. 

"'The Phantom President' is a political 
comedy," he said. "It is supposed to be 
ready for ballyhoo release by election time, or 
just before. But at the rate we're going now 
we'll probably hit the Inauguration. 

"The last time I stopped in Los Angeles 
for any length of time," he grinned, "Edythe 
Chapman and James Neill were the idols of 
the town. Now it's all Gable and Garbo." 

Like most men who have been identified 
with the theatre for any length of time he 
likes to reminisce, pull laughable little 
anecdotes from the back of his memory 
about people we all know. George M. Cohan 
has never met Clark Gable, but .... 

The Time Gable Was "Crazy" 

IT seems that Cohan had sent one of his 
shows down to Philadelphia for a try-out 
a few seasons ago. He had been too busy to 
go down with the production himself and 
had permitted his manager to cast and 
produce the play without his supervision. 
It was understood that if the show went 
over, it was to be brought into New York 
with the Philadelphia cast. 

The first few weeks of the run were very 
encouraging. So encouraging that Cohan 
wired his manager to bring the show "in" 
to the Big Town. A return wire came back: 
"BRINGING ALL BUT LEADING MAN 
WITH SHOW TO NEW YORK." Cohan 
wired back: "WHAT'S THE MATTER 
WITH LEADING MAN? WHO IS HE?" 
And still another wire from Philadelphia: 
"NOTHING THE MATTER WITH 
LEADING MAN EXCEPT HE IS 
CRAZY. GOING TO HOLLYWOOD TO 



62 



TRY LUCK IN THE MOVIES. NAME 
IS CLARK GABLE." 

So, because of the slightly crazy leading 
man, Cohan brought his show into New 
York and played the Gable role, himself. 

Ruth Chatterton and Douglas Fairbanks 
(the original Doug) — Cohan remembers 
them, too, from the early days of their 
Broadway success. 

"Ruth was just a kid," he remembers, 
"and the prettiest little thing you ever saw 
in your life. I always had a warm spot in 
my heart for Ruthie. She was a dead ringer 
in looks for my sister Josie. I had a picture 
hanging on the wall of my office of Josie, 
autographed 'With All My Love,' that 
looked so much like Chatterton it was 
funny. 

"One day, Henry Miller, the producer, 
who was nuts about Chatterton, you know, 
dropped up to see me. My offices at the 
time were right above the theatre where 
Ruthie was scoring such a hit in 'Come Out 
of the Kitchen.' Miller was sitting in my 
office, talking about this and that, when all 
of a sudden he saw that picture that looked 
so much like Ruth. Miller read the auto- 
graph 'With All My Love' and nearly hit the 
ceiling. He was so jealous he nearly jumped 
out the window. I guess he thought I had 
been sneaking down to the theatre between 
scenes to court his girl! After I explained 
about the picture of Josie, he apologized 
profusely. He was crazy about Ruthie, 
Miller was." 

He thinks it singularly lucky for Douglas 
Fairbanks that the movies came along just 
about the time they did. Not that Doug 
wasn't a good stage actor — "but there just 
wasn't any stage big enough to hold the 
spirit of that fellow. He needed a camera 
and all of Sherwood Forest." Fairbanks, 
Sr., played in the Cohan show, "Officer 
666." 

He's No Talker About Himself 

HE would much rather tell stories and 
"just talk" than relay information 
about himself to the palpitating public. His 
idea is that all the "old-timers" have heard 
about all there is to hear about him, and the 
younger ones would rather hear about the 
Clark Gables and George Rafts, anyway. 
But it might just happen that even the 
"old-timers" might not have heard that he 
was born on July 4th — "and they say I've 
been waving the flag ever since," laughs 
George M. That M., by the way, stands for 
Michael — George Michael Cohan, the man 
who has done everything there is to do on 
the stage, and is in the movies now! 

I le is reputed to have turned down a million 
dollars in movie offers, and he says that 
what brought him West this time was "a 
role right up my alley." It is a dual rdle, as 
aforementioned, lie plays a cool, colorless 
man of wealth and his "double" — a colorful 
tramp who is just bursting with personality. 
The latter character is what finally per- 
suaded him to go farther than "forty-live 
minutes from Broadway." 

He stunned Hollywood by what he did 
when he first appeared at the studio. The 
occasion was the first of the conferences 
about the production of "The Phantom 
President." Everyone sat down at a big 
table, and a heavy silence fell over the 
room. Executives and director and every- 
one else expected George M. to tell his ideas 
about how the story was made. But he 
didn't act conscious of the fact. Finally, 
someone suggested that he tell them just 
what he wanted done, lie said, "Listen! I 
came here to learn, not to tell!'' 

lie's the first man from Broadway who 
hasn't shown the least desire to tell Holly- 
wood how pictures should be made. And he 
knows more about the show business from 
the producing angle, the acting angle, and 
the writing angle — than any other man on 
Broadway! 



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The Girl That Hollywood 
Can't Figure Out 

{Continued from page 75) 

personalities. Never on scandal, however. 
Anita Page, herself, will honestly tell 
you that she believes her career has suffered 
from the brand of "good girl." She doesn't 
drink. She doesn't smoke. She doesn't 
attend unrestrained parties. She resents 
the halo that Hollywood has placed on her 
head — and the reputation for a certain 
flaccidity of temperament that the title has 
earned her. Stories have been written that 
the only three men in Hollywood with 
whom she is permitted to go unchaperoned 
are William Haines, Russell Gleason, Jr., 
and Ramon Novarro. The implication has 
caused serious concern to her father, who 
denies that she has had other than the 
guardianship and guidance any parents 
give to an only daughter. 

Denies She Has Been "Held Down" 

"TT7HEN Anita came to Hollywood, 

VV she was only seventeen years old," 
he explains. "She was a child — we gave 
her the same care, the same attention 
that other parents concerned with the 
spiritual, mental and physical welfare of an 
only daughter would give her. No one 
could possibly blame us for that. But 
when the talk that I was hindering her 
career became insistent — I went back 
East. I thought that now people wouldn't 
say that Anita doesn't do any thinking for 
herself, that she is a girl without a mind." 

And Anita, her blue eyes dark with anger, 
interposes: "It isn't as if Dad hadn't made 
definite sacrifices for me. He is an electrical 
engineer — he had a thriving business back 
home. And he gave that up for me and my 
career. When he left Hollywood, it was the 
first time in more than twenty years of 
marriage that Mother and he were sepa- 
rated. He remained away for six months — 
and it was at my pleading that he returned. 
I needed him." 

And she continues: "My mother has been 
so careful not to be known as a studio- 
mother that she has refused to meet my 
directors. Harry Beaumont and Sam Wood 
are the only two she has ever met— and 
then through sheer accident. 

"Why, Dad and Mother can't even be at 
the same theatre where I am without its 
being announced in gossip columns that 
'Anita Page, beaued by Mr. X, was, as 
usual, chaperoned by her parents.' When 
Prince Ferdinand of Germany, visiting in 
Hollywood, asked to take me to an opening, 
for which Dad had tickets, he and Mother 
refused to go for fear of just such comments. 
It isn't fair to them or to me." 

More Ambitious Than Ever 

ANITA Page is ambitious — even though 
. her keen desire to get to the top is a 
new side to her character. When the 
talkies came, she shrugged away the casual 
suggestions that she study voice or dramatic 
art intensively. She did not go in for a 
drastic routine of self-training, as so many 
old-timers did. Her evident, youthful un- 
concern gave rise to the most fantastic 
speculation. 

Was Anita Page really the child of the 
Pomares? Could it be that she was a great 
heiress — a princess even — presented with a 
place in the movies because of her high 
estate? That supposition is pointed by the 
fact that she is exceedingly fair — while her 
father, of Spanish extraction, holds true to 
type. But her face formation is exactly 
like her mother's — and, what is more, she 
is a younger edition of her father's sister. 
It is only that Anita Page is that rare 
Spanish type — a very fair blonde. 



64 



But Hollywood, intent on a mystery, is 
given little to dealing with fact — such as 
heredity and racial strains. 

Anita Page has had no overpowering love 
affairs — those emotional tempests which 
are considered essential to being a sensa- 
tion in Hollywood. 

And she will answer that by saying: "I 
don't see why I should delude myself into a 
cheap love affair because it's supposed to be 
good for me. I don't agree. When I fall in 
love, it must be with a man I respect — with 
a man whom I can marry, and whose 
children I want to bear." 

So she refuses to subsidize love for the 
doubtful benefits to her art. 

There are numerous incidents which are 
as puzzling to Anita Page, herself, as to 
those in the know in Hollywood. The 
periodical executive orders to the studio 
press department to build up a publicity 
campaign for Anita Page only add to the 
general bewilderment. 

When a lead for "Red-Headed Woman" 
was being sought, more than two hundred 
tests were made of her. And even while 
executives and directors were startled by 
her brilliance — even while they were 
amazed by her evident fitness for the r61e — 
it was eventually given to Jean Harlow. It 
was a role, it was agreed, that would auto- 
matically make her a star. 

Anita "Plays Fair" — And Loses 

THOSE who are wise in the way of 
studios declare that, the greatest draw- 
back to Anita's ambition is that she is not 
a born fighter. She won't fight over the 
wardrobe assigned to her in pictures. If a 
hat, or a dress or a coat is not becoming — ■ 
she will be docile in her acceptance. Other 
players tear and rant and cry and plead 
until adjustments are made to their satis- 
faction. 

They'll fight for roles and get them — 
Anita Page will wait for assignments — and 
like a good trouper, go through with them. 
But her roles with a few exceptions, have 
been so small that they have not stood 
out. Her hurt and disgust show in her 
work. But she is silent. It may be a lack of 
temperament. But it is probably due to 
her hope that eventually the studio will 
reward her sportsmanship with a worth- 
while role. Something that will stack up 
with her Queenie, which she did so well in 
'Broadway .Melody." 

Not that she hasn't pleaded with execu- 
tives to give her a chance. She has argued 
that in small parts she isn't worth the 
money Metro is paying her. But the reply 
to that has been: "Now just be patient. 
Leave everything to us." Which becomes a 
program of contradiction. On the one 
hand, it is "publicity for Page;" on the 
other, there is the self-evident fact of un- 
important and inconsequential roles. 

Recently, the studio took up her option — 
and with its increased salary, it put her in 
star money. It was an added stimulant to 
Hollywood's curiosity about this girl who 
has been given not only minor roles, but 
minor billing. 

In "Night Court," she had a larger role 
than for some time — her biggest part, in fact, 
since "War Nurse," which she stole from 
June Walker, who had the title role. Her 
parts in "Are You Listening?" and "Pros- 
perity" hardly gave her a chance. Why? 

It is likely th.it some day some executive 
or director will find the key to her abilities 
now permitted to remain dormant. It is 
known that several of them would like to 
try (that was proved by her tests for 
"Red-Headed Woman") — and have defi- 
nite ideas about the sort of roles in which 
she'd acquit herself superbly. 

But in the meanwhile, she continues to 
be the girl whose career to date — and whose 
personality — are Hollywood's favorite 
puzzle. 



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Herbert Marshall Is Just 
the Opposite of Gable 

(Continued from page 44) 

He takes a modest enough view of his 
wife's disappearance from Hollywood just 
as the portals of film fame were opening to 
her, refusing to be the romantic figure of the 
"man she couldn't live without" (as the 
Hollywood gossip stories put it). 

"My wife's cancellation of her contract 
was quite as much a surprise to me as it was 
to the rest of the country," he smiled. "I 
remember I was visiting friends on Long 
Island when I received her long-distance 
call, telling me she was returning to New 
York. No, I didn't protest her decision. In 
the short talk we had, I realized she was un- 
happy about her role. In fact, I am much 
more inclined to lay her departure to pro- 
fessional, rather than personal reasons. If 
the part had been more to her liking, I am 
sure Edna Best could have been contented 
in Hollywood for the short duration of a 
picture. 

And He Says He's Lucky 

OF course, perhaps I am getting an un- 
usually pleasant view of the movie 
situation. I'm very happy in my role in the 
'Blonde Venus.' Miss Dietrich is charming. 
I sincerely believe that Mr. von Sternberg 
and Ernst Lubitsch, with whom I will make 
my second picture out here, are without 
superiors as directors. And I am fortunate 
enough to have my wife with me in Holly- 
wood! " He smiled and asked questioningly: 
" More than my share of good luck? " 

You can't doubt that he means it when he 
refers to himself as an extremely fortunate 
man. He later told me that it was only in 
the beginning, right after the war, that he 
was bitter about that tragic leg injury that 
will cause him to walk with a decided limp 
for the rest of his life! 

"You see," he explained slowly, harking 
back to those dark days when he thought 
his career was over before it had actually 
got under way, "acting was the only thing 
that had ever held my attention. My father 
was an actor, but he had not trained me to 
follow in his footsteps. When I was gradu- 
ated from St. Mary's College in Harlow, 
England, I was 'placed' as a clerk in a firm 
of chartered accountants in London. After 
one year of that, I was fired through sheer 
incompetence. I wanted to go on the stage 
and nothing else would satisfy me." 

His first stage appearance was in the role 
of the servant in "The Adventure of Lady 
Ursula," which was presented at the opera 
house in Buxton, England. For the next 
two years he played a succession of small 
parts in other productions. Encouraged by 
his showing in these plays, he went to Lon- 
don and won the role of Tommy in "Brew- 
ster's Millions" at the Prince's Theatre. 
The play enjoyed a tremendous success and 
was followed by a tour of Canada and 
the United States with Cyril Maude, of 
"Grumpy" fame. 

Overcame His Great Handicap 

CLOUDS of war were then forming over 
Europe, and upon his return from the 
American road tour, Marshall entered the 
British military service. For almost three 
years he marched and fought his way over 
the fields of battle-torn France. It is ironi- 
cal that it was just a few months before the 
Armistice that he received the leg wound 
that partially crippled him for life! 

"Those first few months after the War — 
they were the darkest, the most bitter of my 
life. I thought I was permanently handi- 
capped in my profession. There are not 
many r61es written for lame men. ..." 

He paused to light a cigarette. It is not 
difficult to understand why Herbert Mar- 



66 






shall does not like to look back at those 
tragic days after the War. 

"I was mentally at the point of a break- 
down when I suddenly snapped myself out 
of it. If I wanted to be an actor, I was going 
to be one, in spite of anything. It was going 
to mean harder work, and perhaps humilia- 
tions in persuading skeptical managers that 
I might be able to make audiences forget 
my lameness — but I made up my mind I was 
going to try for that end." 

Just how well he succeeded is testified by 
the variety of roles he played on the London 
stage in "Make Believe," "The Younger 
Generation," "Abraham Lincoln," "The 
Merchant of Venice," "As You Like It," 
"Brown Sugar" and "A Safety Match." 
He made another tour to Canada and 
America with Marie Lohr in "The Voice 
from the Minaret." 

Has Been in Talkies Before 

IN 1925 he invaded New York with Geof- 
frey Allen in "These Charming People." 
However, he made two more trips back to 
the London stage (it was at this time that he 
played with Tallulah Bankhead) before he 
finally settled his professional activities in 
New York. 

Occasionally, he had played an engage- 
ment of a silent picture between stage pro- 
ductions in London. But his appearance 
with Jeanne Eagels in "The Letter" was his 
first adventure in talking pictures. Though 
the film was a tremendous artistic success, 
it was a year or two later before Marshall 
was offered another talking screen role in 
"Secrets of a Secretary," made in the East, 
with Claudette Colbert. In the meantime 
he did the Broadway show, "Tomorrow and 
Tomorrow," which was what kept him from 
accompanying his wife to Hollywood. 

Four years ago this November, he mar- 
ried Edna Best in a little New Jersey town. 
He is tremendously happy with the little 
English actress and would be delighted if 
she wanted to take up her American screen 
career where she left off (by running away 
from her scheduled role in "West of Broad- 
way.") Together, they have made several 
talking pictures in England, the latest of 
which, "Bachelor's Folly", has just been re- 
leased in America. 

"Edna and I were both playing in 'There 
is Always Juliet' when I received this flat- 
tering offer from Paramount. When we 
were informed that the studio was going to 
close the show because my contract called 
for the run of the play, Edna and I received 
a hearty laugh when she received six weeks' 
compensation salary. It seems that the 
movies are determined to pay her a salary 
whether or not she ever appears before the 
camera in Hollvwood." 



Looking Them Over 

(Continued from page 20) 

free of his "nervous breakdowns"? So far 
as we are concerned, he can "break dow a" 
every day, if we can have some more of the 
e kind of work he did in "Blessed 
Event." 



WILLIAM POWELL and Carole Lom- 
bard have rented the home of Lita 
Grey Chaplin in Beverly Hills. Marilyn 
Miller, recently very ill, was the former 

ten, mi of this elaborate home. 



IN' spite of the fact that no star ever re- 
ceived such an enthusiastic reception 
from a I lollywood audience, there was sonic- 
thing a little sad about the st, lye appearance 
of Charles Ray in "The House Beautiful." 

(Continued «>/ /><i»r 77) 



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New Favorites Fight to Dethrone 
Garbo and Gaynor 



{Continued from page ij) 



to keep her place in motion picture history by 
abdicating rather than risk being deposed? 

The candidates for queenship at M-G-M 
are two, evenly matched. Both Norma 
Shearer and Joan Crawford are young, 
beautiful in the modern manner, and both 
are very ambitious. They have worked un- 
tiringly to get ahead in their profession. 
Norma has powerful influences at court. 
Yet, somehow, Joan Crawford seems the 
likely successor to Garbo's throne. Norma 
Shearer's ambition is that of the head; 
Joan's is of the heart. She is passionately 
determined to succeed, even if to do so kills 
her or costs her everything else she has held 
dear in life; already the rumor of her acces- 
sion is abroad. At Metro the talk of Garbo 
has been supplanted by feverish huzzas for 
Joan. "The Queen bane going home now — 
long live the Queen." That sort of thing. 

Vet if Norma in "Strange Interlude" 
matches Joan in "Rain," who can tell what 
the outcome will be? The M-G-M throne 
is vacant for the moment. Which reminds 
us of the puzzle of Anita Page. It is whis- 
pered among those close to politics that this 
blonde beauty, beloved by the younger sub- 
jects of moviedom, has long made the reign- 
ing favorites of the lot uneasy and that they 
have seen to it that she has been kept down 
to safely unimportant roles. And another 
youngster who is even more to be feared is 
Jean Harlow, who is being pushed ahead 
at skyrocket speed since her dazzling hit 
in "Red-Headed Woman." Also, Jean's 
new husband, Paul Bern, is an important 
M-G-M executive. 

If Marlene Should Abdicate 

QUEEN MARLENE is another ruler 
who recently threatened to abdicate, 
" taking her court favorite, Josef von 
Sternberg, with her. For two years the 
Dietrich throne has been safe from chal- 
lenge. Once the court favorite transferred 
his professional allegiance to the establish- 
ment of a contender, Sylvia Sidney, but 
"An American Tragedy" did not make a 
new queen. 

Marlene Dietrich's throne is in danger 
for several reasons — the chief of which seems 
to be her own distaste of American ways and 
living: such quaint customs as kidnaping 
threats, for example. Then, too, many a 
queen has lost her throne from too great a 
submission to court favorites! The third 
reason is Tallulah Bankhead, who has never 
before bowed to any rival. The unchal- 
lenged queen of the London stage, and high- 
handed ruler of Broadway is not likely to 
be patient in second place on a studio lot. 
The very fact that she has triumphantly 
survived so many second-rate pictures, and 
the fact that she has had the will and cour- 
age to go on making pictures after her first 
discouraging efforts prove that her person- 
ality is one that does not admit defeat. 

At present, there is no other near rival for 
Marlene's crown. Carole Lombard has not 
yet succeeded in her fight for studio ad- 
vancement, a fight which no doubt was 
responsible for her recent breakdown. Sari 
Maritza, heralded as "another" Dietrich, 
proves to be too immature and uncertain 
as yet to be dangerous. If, as seems prob- 
able, Marlene calmly tosses her crown into 
the nearest Paramount ash can and saun- 
ters back to Germany one of these days, it 
will undoubtedly be "Queen Tallulah" — 
and it might even come to pass earlier. But 
Sylvia Sidney is in there fighting — as is 
proved by her winning the much-coveted 
title role of "Madame Butterfly." 



A Battle Between Connie and Ann 

OX the Radio lot, Bebe Daniels was once 
Queen. When she left, her dressing^ 
room became the sign and symbol of queen- 
dom on that lot. It was the only private 
suite of rooms intended for a gorgeous star. 
At Pathe, Ann Harding and Constance 
Bennett had shared adjoining dressing- 
rooms and equal honors. Neither girl had 
shown a sense of superiority by being 
patronizingly affable to the other; they 
seldom spoke. The issue of which was the 
real ruler of the lot was still in doubt, 
though Connie assumed the attitude of 
studio queen, according to rumor, by her 
autocratic ways. 

When both stars were transferred to the 
Radio lot, by the merging of the two com- 
panies, it was a breathless question which 
would get the "star" bungalow. Ann Hard- 
ing said at once, "Why, if Connie wants it, 
let her have it!" But the studio powers 
decided differently, and Ann Harding took 
possession of the bungalow. Affably enough, 
Connie accepted quarters in the scenario 
writers' building and had a kitchenette in- 
stalled, from whence at noontime savory 
onion odors were wafted. But Connie made 
it known that she must have a bungalow 
dressing-room of her own, and at the mo- 
ment one is being built for her! 

If salary and sensational popularity de- 
termine queendom, undoubtedly it is 
"Queen Connie" at Radio. At a time when 
Ann was staying at home, raising a baby 
and adoring her husband, Connie had been 
marrying multi-millionaires and Marquises 
and doing other glamourous things. The 
public clamored to read about her. It is 
the public, after all, and not the movie 
powers, that crown them queens. Recently, 
Queen Connie decided that her subjects 
might not remain faithful if this publicity 
about her temperament went on. Now, all 
is sweetness on the Radio lot. Connie gra- 
ciously gives interviews, graciously sits for 
pictures. But you may be sure that Connie 
is keenly watching Gwili Andre, the dazz- 
ling Danish beauty who is being groomed 
for stardom, beginning with "Roar of the 
Dragon." And the presence of Dolores Del 
Rio makes her none too comfortable. 

Janet Has Several to Fear 

TANET GAYNOR has been queen of the 
I Fox lot so long that it seemed that no 
^ newcomer would ever aspire to her throne. 
"I am going to be great," they quote her 
as saying on the night when "Seventh 
Heaven" was first shown to the public. "I 
know that now!" That night was corona- 
tion night for Janet. Never for a moment 
has her supremacy on the Fox lot been 
threatened since — until recently. 

It was not threatened even when Fox 
imported a real, honest-to-goodness descen- 
dant of royalty, Elissa Landi, to be a star 
on the same lot. Yet war now rages at 
Movietone City over the throne of Queen 
Janet. The aspirants are several. Possibly 
Janet, herself, fears Sally Eilers most. Sally, 
however, recognizes Marian Nixon as a 
serious rival for the succession. And Joan 
Bennett is another to be heard from. Then, 
to complicate the uneasiness of Janet's 
crown-wearing head, from afar she can hear 
the trumpets and cymbals welcoming Clara 
Bow back to the screen — Clara, who ruled 
the Paramount lot for many years with a 
toss of her flaming head. 

If there was ever a possibility of divorce 
in the Peck-Gaynor household, we venture 



68 



to prophesy that there will not be one now. 
For Janet is not going to risk losing her 
crown. It would seem that she had cast 
about her for precedent and discovered that 
most movie queens were temperamental. 
All right, then — she would show that she 
had a temperament, too! She began by 
copying Garbo's policies of "No interviews, 
no quotations." She then began to balk at 
sitting for fashion pictures. The studio, 
which had always found her the soul of 
friendliness and cooperation, began to dis- 
cover to its shocked dismay that she could 
be fractious, too. 

There was one picture plum to be given 
out on the lot, "The First Year" — that gay 
and charming comedy of newlyweds, which 
has been a hit so long that it belongs to 
public legend. Janet wanted it, but for a 
moment — it must have been an awful mo- 
ment to Queen Janet — it seemed that it 
might go to Sally Eilers, fresh from her 
undoubted hits in "Bad Girl" and "Dance 
Team." It was a close call for Janet's 
crown, but she exerted her rights as ruler 
of the lot and got the picture, and Sally 
fled to New York because her heart was 
almost broken at losing it. Perhaps Sally 
also sensed that with it she lost the chance, 
at present at least, of being queen of a lot. 

Sally, herself, has her troubles. Marian 
Nixon is playing opposite James Dunn for 
"Walking Down Broadway," in the role 
originally scheduled for herself. Sally was 
crazy about Jimmy as an actor. Indeed, 
her generous and impulsive praise of his 
talent at home was the cause — they say — 
of the recent "love spat" between Sally and 
hubby Hoot Gibson. Now Marian Nixon 
is being co-starred with Jimmy Dunn. 
Sally and Marian have been close friends 
for years, but they aren't speaking to-day. 

Ruth's Dangerous Young Rival 

WARNER BROTHERS-First Nation- 
al have announced Ruth Chat- 
terton as their queen. Ruth occupies the 
royal bungalow, wields the royal perquisites 
of life and death over scenario, director and 
leading man. And yet — it is not Barbara 
Stanwyck whom Queen Ruth has had to 
fear (though Barbara is her closest rival for 
the rule of the lot), but an upstart youngster 
called Ann Dvorak. In this girl, the trained 
eye of Chatterton is probably able to discern 
the fire and emotional power of an authentic 
dramatic star. And Ann Dvorak, still in her 
teens, has youth in her favor — laughing, 
eager, undaunted youth. But she has just 
staged a startling and unexpected walk- 
out for more salary (she was getting S250 a 
week) — and there is no telling what effect 
this will have on her future. 

Universal has had its queens — Priscilla 
Dean, Mary Philbin, (Genevieve Tobin, but 
at the moment its throne is vacant, though 
they say that Carl Laemmle, Jr., prime 
minister of its destinies, is grooming exotic 
Tala Birell for the crown. There is a lovely 
unknown who might get crowned first — 
if Gloria Stuart gets the right rdle 

And so the battles rage. Much is at stake 
wealth such as few of the queens of Europe 
have dreamed of holding in their own hands, 
fame such as no queen has ever known, 
power that any queen would be glad to 
wield. It is a bloodless battle with rival 
claimants to the throne attending eai li 
other's prei tiling each other "dear," 

smiling sweetly with beautiful painted 
their congratu! > each other's suc- 

cess. Instc.nl ut blood -tears! Instead of 

bullets roles! Instead ol victories con- 
tracts! Movie thrones may be lost i.,i -n, h 
mall thing a single scene, an added 
pound, an unbecoming hairdress, a breath 

of gossip. Movie thrones may be won just 
as easily by a winning smile, a visit to the 
beauty parlor, a quainl mannerism or a 
dinner with a producer! The Battle of the 
Beauties is on let the best blonde win! 




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69 




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Is Hollywood Doomed ? Asks De Mill* 



{Continued from page 43) 



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in store for the heedless, reckless world of 
to-da\ — unless it saves itself in time. 

"And do not say America only," adds 
De Mille. "I have just returned from a trip 
abroad. Everywhere it is the same. The 
lust for power and conquest has spent itself 
as Rome's did and after the orgy of blood 
came the orgies of pleasure. The whole 
world has been on a spree for the last dozen 
years, and has forgotten what happened to 
ancient Rome. 

"Rome's overthrow came almost over- 
night by fire, revolution, and death to those 
who were to blame for the oppression and 
degradation the common people had suff- 
ered. It came without warning and left 
Nero whimpering out his life in a refuse 
heap, with a wilting wreath from his last 
'wild party' around his head. One moment 
it seemed nothing could touch those in 
power — and the next, destruction! 

The Unholy Rulers of To-Day 

THERE are Neros sitting in the seats of 
power now all over the world — not 
conquerors by the sword perhaps, but by 
something just as powerful: money. These 
money lords are fiddling while civilization 
burns. To get more money, the Roman 
Emperors taxed the citizens remorselessly. 
The common people of the world to-day are 
crushed with taxes. In America we are 
beginning to feel the weight of them. 

"I said to one European I met, 'How does 
it happen that everyone looks so cheerful 
here? In New York the crowds were sullen 
and long-faced.' 

"'Oh,' said he, 'we have been oppressed 
for so many centuries that we are used to it. 
You are just beginning to feel the first 
touch of hardship!' 

"Rome was founded on the same princi- 
ples as America — the unselfish ideals of 
liberty and democracy and humanity. For 
many years it practised these ideals, just 
as for many years America has practised 
them. Then its leaders grew ambitious for 
power. The law-makers ceased to work for 
the whole people and catered only to the 
influential. Can anyone deny my parallel 
here? We have not crowned our money- 
Caesars, but the bankers and brokers are 
our unseen rulers. 

"Without ideals, the nobles of Rome 
turned to pleasure. And it is strange how 
few new pleasures we have invented since 
their time! They gave lavish parties at 
their villas, as the idle rich give lavish 
parties in their penthouses to-day. They 
ate and drank almost the same dishes and 
drinks we have to-day. Though they 
didn't have the cocktail. (Think what 
honors Nero would have heaped on a slave 
who could have shaken him a cocktail!) 
They spent money extravagantly to sur- 
round themselves with luxurious homes — 
but our Hollywood swimming pools are as 
gorgeous as Roman baths. Our modernistic 
interiors resemble the decorations and 
furnishings of the villas of Roman nobles. 
The evening gowns of our women are 
strikingly similar to those worn by the 
favorites of Nero's Court. 

Outdoing the Old Romans 

" ^]EX occupied the thoughts and imagina- 
O tions of Roman rulers. Instead of 
merely watching the movements of half- 
naked dancers, as Nero and his friends did, 
modern men and women dance almost the 
same dances together. Change the cos- 
tumes and language of any lavish party of 
modern young people slightly, and you 
would have a Roman orgy in Nero's Golden 
House. 

"The Romans forgot the worship of their 
old gods. And which do we think of most 



to-day — God or money? They even had 
their gangsters! When Xero and his friends 
tired ot other pleasures, they dressed them- 
selves in the garb of common soldiers and 
went abroad up and down the city, holding 
up private citizens and taking their purses, 
attacking girls after they had knocked out 
their escorts, even committing murder. 

"The valuable things in life were cheap in 
the times of Nero — and they are as cheap 
to-day. Beauty, for instance. I can hire all 
the beauty I want for pictures in Hollywood 
at five dollars a day. Virtue — don't be 
shocked! Just read the hospital records of 
unwed mothers in their teens! Life — look at 
the Lindbergh case, and the wanton mur- 
ders by gangland, the bombings. Yes, and 
suicides. Read police reports of automobile 
deaths — if you don't think life is as cheap 
today ! 

"Nero's martyrdom of Christians wasn't 
planned, but his subjects were angry with 
him for burning down their city and he 
needed someone to lay the blame on — what 
we call a 'goat.' Listen to any political 
speech about the Depression — see how one 
party hands the blame to the other! And 
tosses party leaders to the lions. 

"Hollywood Filled with Neros" 

OUR Hollywood is filled with Neros — 
men in power who think only of self 
and not of their fellows; and Poppaeas — 
voluptuous women who rely on their beauty 
to get them their hearts' desire. The most 
voluptuous-looking woman in Hollywood," 
adds De Mille, "is Greta Garbo. She has 
the true voluptuousness — not of body, but 
of mind." 

.Some of the principals in the cast are 
Fredric March (who will play Marcus 
Superbus, Prefect of Rome in the early part 
of the picture), Claudette Colbert {Poppaea) 
Elissa Landi (Mercia), Charles Laughton, 
an English newcomer who is built somewhat 
along the Jannings lines (Nero), Ian Keith 
(Tigellinus), and Tommy Conlon (Stepha- 
nas, the boy). 

This first great spectacle in sound is a 
heartening thing for Hollywood. It brings 
back echoes of the good old days of "The 
Ten Commandments," "The King of 
Kings," and "Ben-Hur," with its five 
thousand "extras" in brassy armor, its 
mammoth settings and grand-scale orgies, 
acre-wide rooms and sunken marble baths. 
(It was De Mille, you remember, who made 
baths famous on the screen. "Poppaea will 
bathe in asses' milk, not water," L says C. B., 
loving the sound of the words.) 

Whether or not "The Sign of the Cross" 
will do more for the world than give 
temporary work to several thousand jobless 
"extras" and passing pleasure to many 
millions is a question. Talking to Cecil B. 
De Mille, listening to his hypnotic voice and 
beautiful enunciation, watching one of the 
best actors in Hollywood (De Mille should 
have been on the screen) emphasize his 
words, and seeing the flame of the zealot in 
his very blue eyes, one finds it easy to heed 
what he says. It is impossible not to listen 
as he prophesies an end to the present world 
as we know it, with its Very Rich and its 
teeming and taxed Poor, its reckless ex- 
travagance and irreligion and loss of ideals. 
One is almost inclined to share his belief 
that the movies need to warn the world. 

But when one comes out of the De Mille 
presence, into the outer office with signed 
photographs of movie stars on the wall and 
obsequious groups waiting to see the direc- 
tor-producer, the effect of the De Mille 
magnetism is shaken. Have we been 
listening to a prophet crying in the wilder- 
ness of Hollywood, or to an actor playing 
the part of a prophet? 



70 



Will Hollywood Change 

Paul Muni, or Will He 

Change Hollywood? 

(Continued from page 52) 

Americans" was molded into film six or 
eight times, Muni was not in any of the 
pictures. The same thing happened when, 
in the following season, he again staggered 
the critics with his supremely vital por- 
trayal in "Four Walls." As a picture it was 
one of the first gangster thrillers. And it 
was enacted by the rough, tough feller, 
John Gilbert! 

But when Hollywood does come to life, 
there are no half-measures! And when the 
old master, YVinfield Sheehan, signed 
Muni to a movie contract, a brand-new star 
was born overnight. He was no longer 
Muni Weisenfreund — or even YVisenfrend. 
He was Paul Muni, a name derived from 
his own and his father's monickers. And 
one that has demonstrated its lure when 
electrically emblazoned on the marquees 
of movie palaces. 

Everything looked rosy. But just then a 
terrible thing happened! Someone in 
Hollywood read a book, or something, and 
learned that the star was a genius at make- 
up, and that he had played old-man parts 
at eleven, and hundreds of different char- 
acters in the eighteen years following his 
debut. So they hurried through "The 
Valiant," which was "pepped up" with 
everything but a hoss-race, and shot Muni 
into "Seven Faces," and made this mighty 
artist a sort of cinematic one-man-band. 

He was, to be exact, (') Svengali, ( 2 ) 
Napoleon, ( 3 ) Schubert, ( 4 ) Joe Cans, ( 5 ) 
Don Juan, ('') a Cockney, ( 7 ) Papa Chipon! 
Practically everyone except William Fox. 
That was surely going some, you'll admit! 
In one and the same picture, Muni played a 
hypnotist, a warrior, a musician, a pugilist, 
a lover, a mugg and an old man. Holly- 
wood, you see, took a fling at art, or what it 
thought was art. Muni passed this terrific 
test with high honors. But the picture did 
not. 

So it happened that we had to wait for 
"Scarface" for a real good glimpse of the 
young man for whom the astute Otto Kahn 
had prophesied such glories. In "Scarface," 
the forecast of Oracle Otto came true. In 
"1 Am a Fugitive from a Georgia Chain 
Gang," a title which must be shortened 
unless they run it up and down the sides of 
theatres, he eclipses even the most brilliant 
of the portrayals that have gone before. 

Likes to Play He's "Unknown" 

WHERE many actors cling to past 
performances, Muni forgets them, 
himself, and wishes them forgotten by the 
movie-going world. He's currently trying to 
forget Scarface, a role he liked "even though 
the censors wouldn't let him be human." 
He'd be willing to start anew with each 
picture — to begin all over again, an un- 
known. He practically promises the fans 
tli.it he'll give them something better in 
each sin reeding film. He tries his level best 
to do so. And he succeeds. 

Among other things he fears "being 
typed" drilling into that Sargossa Sea of 
I tolly wood where a man stagnates as a type, 
and is doomed forever to be the same char- 
actei o\ er and over again. 

"I don't <are what r61e I play," says Paul, 
"just so it 's different from the last one. I'm 
through with tough guys for a while, and 
old men, too. And my next rule won't be 
that of a chain-gang unfortunate, either. 

"I've played quite a leu parts in pictures, 
and quite a lew hundred in the theatre. 
But I haven't begun to portray the 1 harai 
ters th.it are painted in the gallery of 
humanity. There are millions of men. Each 
is ,w\ interesting study. Each has his story, 



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his problems, his joys and sorrows. There's 
drama packed into every face you pass in 
the streets. I'd like to enact all their 
varied roles for the screen!" 

That's the way Muni talks about his job. 
And his job is his most vital interest. It's 
not all that he knows, by any means. But 
it is what he knows best. And for the 
readers who have what the French call a 
"beguin" and what we call a "yen" to be 
movie stars, here's what Paul has to say 
about how to do it. 

"My only training as an actor has been — 
acting. If you want to be a writer — write. 
If you want to be a fighter — box. And if 
you want to act, just go ahead and do so. 

"I quit school at twelve and went into a 
Cleveland stock company with my parents. 
I hid my kid's face behind a set of whiskers 
and became an aged grandpap in my first 
role. I aged rapidly. That is, by the time I 
was fifteen I'd played parts of men from 
fifty to eighty years old. 

"The first time I appeared without the 
face-foliage and the putty nose, I give you 
my word I felt naked! Did you ever have 
one of those dreams in which you're caught 
in a crowd without your clothes? It was 
the same sensation. Only recently have I 
assured myself that it isn't necessary for 
me to worry if my nose gets jostled a bit in 
a movie kiss. I know now it won't come off! 

The Ambition of His Life 

IF I can send the audience from my 
pictures with just one big moment that 
it won't forget, I feel that I've accomplished 
something fine. And when I reach the place 
where I can convey great, tearing emo- 
tions from the screen without saying a word 
or moving a muscle, I'll be happy. I want 
to be able just to stand, still and silent, and 
communicate what I feel to the folks out 
front. Then I will have arrived as an actor!" 

Paul Muni, you see, has ideas and ambi- 
tions. He's articulate about them, too. For 
he's far different from some of the movie 
darlings who, as the saying goes, know what 
they want, but can't spell it! 

Modest, he doesn't underestimate his 
craftsmanship. To pretend to blush unseen 
would seem to him hypocritical. And 
Muni is no hypocrite. He doesn't care the 
proverbial fig about the inconstant glories 
of stardom. Give him a part to play- and 
he'll do the rest. He knows that a real 
actor can steal any picture from a synthetic 
star, who is merely hung in the movie 
heavens like a tinsel ornament on a Christ- 
mas tree. The real stars will shine even 
through clouds of supervisors! 

The best authorities of the theatre, and in 
the movies, too, have told him in so many 
words: "If you don't get a swelled head, or 
dissipate, or do rash, foolish things, you'll 
be the greatest actor in the theatre, in the 
movies, in America and in the world!" 
And invariably he replies: "I never have 
done any of those things, so I don't believe 
I'll bother starting." 

What he says is true. When he's not 
working, you'll find him at home. And if 
you register a little surprise at finding a 
movie star home, he'll ask blandly enough: 
"Why not? You don't know a better place, 
do you?" 

There he is, and there he stays. All 
foolin' aside — curled up with a good book. 
He continues to cling to a life-long habit 
of reading the volumes he considers neces- 
sary to the continuation of a man's educa- 
tion. And in a life like Muni's, education 
never ends. This, perhaps, is the secret of 
his impressive background. This, and the 
little fact that although he quit school at 
twelve, he was at the time in his second year 
of high school. There's a mind, apparently, 
capable of understanding and retaining 
what it absorbs. 

{Continued on page 76) 



72 



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73 



Hollywood's 

MAKE-UP 

SECRET 




Genevieve Tobin 
Uni'venal Star 



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(Continued from page 41) 



Finally, I asked why she did it. Her 
answer was simple and characteristically 
honest: "Because the public likes me that 
way, and even in these depressed times is 
willing to pay to see me doing that sort of 
role. I'm sort of an Eternal Other Woman, 
I guess — at any rate I'm enough of a novelty 
to have established a vogue. And as long as 
it's popular — why, what else is there to do 
but continue to exploit it? 

"Of course," she went on, a shadow cross- 
ing her forehead, "there is the inevitable 
penalty. Too often the kind of people I 
naturally like are suspicious of me and 
aren't as kind as I'd like them to be. For 
instance," she pointed out, "I like you. 
But have you gallantly asked the young 
'loidy' out to lunch? The answer is no!" 

Later (as much later as it requires a young 
"loidy" to get her hat and coat and be con- 
ducted to one of those places where the 
afternoon is gone before you know it) I 
sought to come to the defense of my seeming 
negligence. 

" You admit being a sort of Eternal Other 
Woman to your women observers — but did 
you ever stop to think that to the men you 
iook like ten million dollars' worth of 
trouble? Why, just from looking at you, 
how could one think of approaching a girl 
like you without being bowed down with 
orchids and diamond bracelets and things? 
And in these days, as you may have heard, 
most of us are lucky if we could bring you a 
lollipop!" 

Feels Cheated of Friendship 

"T KNOW," she said. "And, of course, I 
JL can't help but feel sorry that my screen 
self has made people — well, think I must be 
a gold-digger and such in life, too. I miss 
the normal relationships of life — miss them 
dreadfully. Working as hard as I do, I have 
small chance to go about much, to form new 
contacts and associations. Modern life is 
such a matter of touch and go, hit or miss, 
that few of us have a chance to learn about 
one another as was the custom in more 
leisurely periods. We have to take our 
friendships on the run, the first bounce, 
these days. And consequently when I meet 
new people — and find, as is almost invari- 
ably the case — that they already have 
formed their opinions about me, what is 
there to do but simply abandon the idea of 
developing the acquaintance further? 

"It's unfortunate, because if there is one 
thing more important to me than the rest, 
that thing is friendship. And I have so few 
chances to gain real friends! Judging me by 
the parts I play, women instinctively dis- 
trust me. And men — but perhaps the less 
said about the general attitude of men 
toward me, the better. 

"It's small fun being an actress off the 
screen. I'll tell you that truthfully. I'm 
young, and I like to do the things and go the 
places that all girls do — but how am I able 
to do so when I'm so tired at night from my 
work that often at dinner I scarcely say 
three words to my mother and father? 

An Actress' Inner Thoughts 

AND then this flood of gush that a well- 
. known figure is subjected to! People 
using the slightest pretext to come up and 
tell you how much they admire you. Admire 
you nothing! It's that shadow they've been 
looking at — not you, not the kid, herself. 
They know nothing of the real you — the 
person that you, yourself, really respect. 
And when that person is so different from 
the one on the screen — ! 

" But all of that adulation, no matter how 



hard you try to shrug it off, does something 
to you. Sub-consciously you begin to won- 
der, whenever anyone shows an interest in 
you, no matter who it may be, if it isn't the 
actress and not the person that he is inter- 
ested in. Would he be thus attentive if you 
were an unknown girl? That's the horrible 
part of fame — the distrust it inculcates in 
one! 

"That is why so many of us in the lime- 
light are driven in upon ourselves as we are. 
My circle of very close friends is extremely 
limited. Naturally, I'd like more — but I'm 
leading a theatrical life, and that's that." 

These were Jean Harlow's thoughts just 
before she went on her recent record-break- 
ing personal appearance tour last Spring. 
On the tour, she was forced to hold fast to 
her opinion that it was Jean Harlow, the 
screen siren, that the crowd was interested 
in, and not the Jean Harlow who was also 
Harlean Carpenter. To that end, four or 
five times a day on her tour, she clothed her 
lovely, long-legged figure in one of her fa- 
mous white satin gowns and went through 
an amusing skit designed to give the public 
what it wanted: i.e., an in-the-flesh look at 
the celebrated meanie-queen. 

The Chance of a Lifetime 

THAT tour was no child's play. Its 
strain affected Jean's nerves and her 
health, and while she did not deviate from 
her allegiance to the East, she returned to 
the Coast — and pictures — without regret. 
When, soon after arrival, she was chosen for 
the title role of "Red-Headed Woman" 
(after two hundred and fifty actresses had 
been tested for the part), she had a million- 
dollar thrill. She was immensely intrigued — 
and still is — by what " Red-Headed Woman" 
might do for her. The red hair (a wig, by the 
way) not only changed the Platinum 
Blonde's appearance, but altered her whole 
outlook toward her future. She now sees a 
glimmer of a chance to be a new Jean 
Harlow. 

"After that role, inflammatory though it 
was, maybe I'll have my chance to get away 
from totally unsympathetic parts," she told 
me this time. "The character in the picture 
was changed considerably from what she 
was in the book, and while she still couldn't 
be termed a 'good' girl, I think she's going 
to have a measure of sympathy. Because 
she was funny, through it all — and how we 
need humor these days! I'm holding the 
thought that maybe audiences have been 
coming away saying, 'Wow! What a wom- 
an ! ' And I want that — I always want people 
to feel that they've received a full measure 
of entertainment for the money they paid to 
see one of my pictures." 

Wise as Jean is about her career, a day is 
coming when she will leave it — and leave it 
without regret. 

"There are so many other things in life!" 
she exclaims. "This business practically 
absorbs one to the exclusion of everything 
else, because one simply hasn't the strength 
for anything else. Last year I made seven 
pictures in eleven months. During that 
time I went out dancing only once. It's a 
rarely-broken rule with me to be in bed 
every night by nine-thirty. I have to be, to 
keep fit— and to keep from having circles 
under my eyes. Naturally, I realize that 
there are a million things I'm missing — that 
there is so much to know, about which I 
know nothing, undeveloped details of my 
growth. 

"But for the time being the path I'm 
following is my life. The other things must 
wait. Next year I hope to have three 



3-9-6 M 



74 



months in Europe; it may be a delayed 
honeymoon trip. My book is half-written, 
but it is difficult to know when I will have 
the time to finish it. 

Never in Love Before 

"T'VE never been in love until now. I was 
JL married the first time at sixteen — and 
what can a sixteen-year-old girl know of 
love? That marriage was unfortunate and 
failed, but I'm a believer in the institution. 
It must be all right to have survived as long 
as it has. The fault is that so many people 
enter it with such odd ideas. In other words, 
it is not matrimony that is wrong — it is the 
people who don't respect its few simple 
rules. 

"I have been a little dubious about its 
happening to me again. I've said to myself: 
'At least, it won't occur until a man comes 
along who is able to distinguish between my 
real — and my reel — selves!'" 

Jean's marriage on July 2 to Paul Bern, 
M-G-M executive, was a surprise to Holly- 
wood — and Jean says it was a surprise to 
her, too. He had usually been her escort at 
the few openings and parties she had at- 
tended, but there was no hint of a romance 
until a week before their wedding. In fact, 
some gossip writers had just finished com- 
menting, "There hasn't been a romance 
rumor about Jean Harlow for months" — 
when she and Paul Bern visited the Mar- 
riage License Bureau. 

"We had often talked of marriage casu- 
ally," Jean reveals, "but no more than that. 
Then, suddenly, he asked me to marry him. 
And, suddenly, I knew that that was what I 
wanted more than anything else in the world. 
Here was the man who could distinguish 
between Jean Harlow and Harlean Carpen- 
ter r" 

Jean is twenty-one (her birthday was last 
March); Paul Bern is forty-two. He is one 
of the most popular and respected men in 
the movie colony. It is little known outside 
Hollywood, but he is almost the only friend 
who stayed by Barbara La Marr to the 
tragic end ; and he it was who saw that she 
had a decent burial. Other unhappy, un- 
lucky stars have come to Paul Bern for help, 
and have not been turned away. He has 
been called "The Kindest-Hearted Man in a 
Heartless Town" and "The Little Con- 
fessor of the Stars." 

He has been rumored engaged, at various 
times, to many of the famous beauties who 
have been his friends — among them Bar- 
bara La Marr, Jetta Goudal, Estelle Taylor, 
Leatrice Joy. But the girl he asked to marry 
him — forty-two years a bachelor — was Jean 
Harlow. Or, if you know her as she is, 
Harlean Carpenter. 

She is likely to continue in her career — 
perhaps under the personal guidance of her 
producer-husband, who gave his bride his 
sixty-thousand-dollar home as a wedding 
present. And the man who understands 
Jean Harlow as she really is, is likely to see 
that she gets roles that are sympathetic — 
roles that will allow her to be a new Jean 
Harlow! And the very fact that she is mar- 
ried will win her more friends with women — 
and will not keep men from wanting to see 
her. That's my guess about this newest of 
the stars. What's yours? 



- -- .—■ — - 



Did Von finuir That— 

Barbara Stanwyck is the only star who 
does her own screaming on the screen? The 
others fear hoarseness. 

Helen Hayes, now making "A Farewell to 
Arms" with Gary Cooper, says, "It looks as 
if I'm in Hollywood to stay this time"? 

Ethel Barrymore, now making "Rasputin: 
The Mad Monk" with brothers John and 
Lionel, may also be "in Hollywood to stay"? 



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ii tinned from page 72) 

Never Played Himself 

law Muni in a cafe, strolling the 

ard, among a gathering of friends, 

lant to know more about him. 

something in his manner, in his 

in his poise that is instantly 

Scarcely a "pretty boy," quite 

aly not the "perfect profile," there's 

lness of brow, a tilt to the chin, a fire 

fe smoldering eyes that make you want 

^ear about him, to meet him. 

vnd when you do, you'll feel in five 

r inutes that there's Stardust sprinkled in 
curly mane of hair tossed back from 
rns forehead. That here is an unusual 
'person, even in that Mecca of the Unusual 
which we call Hollywood. He'll talk easily 
of his work — but you'll find it difficult to 
guide the conversation intopersonal channels. 
Paul regards Muni, the actor, as a sort of 
third person, and as such he will discuss the 
merits and faults of the player and his play. 
But for some reason he considers himself, as 
himself, uninteresting. 

"In all the years since I came to America 
in 1901 as a baby I have never played myself 
in the theatre," he'll tell you. "Occasionally 
I have portrayed young men, and my face 
has been my own, but never have I essayed 
a character endowed with my own personal 
mannerisms. It wouldn't be fair to' the 
audience. I'd be cheating. Personally, 
I'm not interesting!" 

Such a remark leads one to wonder what 
Paul's portrayal of Muni might be. Surely 
he, like the millions mentioned, has his 
own story, his drama. Arriving from 
Austria, the third generation of show folks, 
becoming an American almost in name only 
— being in the country, but not of it. Then 
the long apprenticeship and the final 
triumph in his struggle for recognition — a 
recognition only in the Ghetto and by the 
few from another sphere who realized the 
virile state of the Yiddish theatre. 

Broadway, and a new triumph in a new 
world. Then Hollywood, doubts and fears 
of the new medium to be dispelled and 
obviated. And once more the paeans of 
praise accorded motion picture success, 
cheers echoing around the world from 
China to Chinatown — everywhere movies 
are shown ! Here, indeed, is a Personality 
as fascinating "off" as "on" the screen! 

Of motion pictures, Will Hays has often 
said that no romance of the movies is half 
so fascinating as the romance of the screen 
itself. And, somehow, this applies to Paul 
Muni. Of the hundreds of parts he has 
played, of the hundreds he will play, none 
may be so enthralling as the one that we 
shall never see him act. The part of the 
Austrian, Muni Weisenfreund, genius of the 
Yiddish theatre — now Paul Muni, Holly- 
wood's trebly gifted star — and one hundred 
per cent American! 



IHil You Know That— 

.Mrs. Fredric March — known on llie stage 
aH Florence KKlrM^r is entering t he moi i«-s. 
herself, in "Thirteen Women"? 

Rillic Burke the Broadway star and wife 
of Florenz Zieefeld- is likewise facing i he 
cameras and John Barrymore) in "Hill of 
Divorcement"? 

Vmelia Karhart Putnam, the feminine 
Lone Eagle, turns down movie offers with ;i 
laugh, sa> ing, "Can't you imagine me in the 
movies?" 

Kenee \«Ioree. completely well :iftcr 
twenty-one months ahed in an Arizona 
sanitarium, has had to learn how to walk 
again? 




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ll»' 



Looking Them Over 

{Continued from page 6j) 

Maybe it was because the folks seemed so 
determined to show Charlie how glad they 
were to see him. There was a world of 
Hollywood sympathy in those six curtain 
calls Charlie took after the first act. 

Not that Ray's performance called for 
any sympathy — he is splendid in the role 
of the bewildered idealist. But, somehow, 
you felt that so much depended on this 
stage appearance. For four years Charlie 
has been playing stock engagements all over 
the country with one hope in view — another 
chance in Hollywood. The previous hit of 
Colleen Moore in "The Church Mouse" at 
the same theatre must have raised his hopes 
considerably. (Colleen was signed by 
M-G-M following the Hollywood run of her 
play.) 

Now, if the movie folks really want to 
show Charlie how glad they were to see 
him, another chance on the screen, which he 
so richly deserves, will prove it. 

HELENE COSTELLO (the ex-Mrs. 
Lowell Sherman) and Hugh Trevor 
(Betty Compson's former beau) are step- 
ping out high, wide and handsome. Wher- 
ever you see Helene, it's a cinch that Hugh 
won't be more than a couple of steps away. 
They appear devoted, though at the time 
of the Lowell Sherman divorce suit, Helene 
said something about "being through with 
marriage." YVe shall see . . . 



GEORGE O'BRIEN'S former flame, 
Cecelia Parker, is now receiving cor- 
sages from Junior Laemmle. George has 
switched his floral offerings back to Mar- 
guerite Churchill. 



/^LAIRE WINDSOR did not sit idly by 
v^/ and do nothing about it when Mrs. 
Marion Young Read, Oakland society 
woman, charged her with alienating the 
affections of her (Mrs. Read's) husband. 
Claire filed a counter suit charging at- 
tempted blackmail. Mrs. Read was suing 
Claire for the neat sum of Si 00,000. Claire, 
in her reply to this suit, alleged that Mr. 
Read had represented himself to her as an 
unmarried man, and then later as a married 
man about to get a divorce. She admitted 
that she once was "very fond" of him, but 
stated emphatically: "There was nothing 
improper in our conduct." Mrs. Read has 
sued her husband for divorce, naming 
Claire as co-respondent. 



DOROTHY LEE has returned to Holly- 
wood and her flame, Marshall Duffield, 
protesting that "Marsh" (of U. S. C. foot- 
ball fame) is the only man in her life. That 
means that Fred Waring, the orchestra 
leader, is a closed book, so far as the peppy 
Dot is concerned. And is Duffield happy? 
Wedding bells are expected as soon as 
Dorothy's divorce from Jimmy Fidler be- 
comes final. 



LAST month it was Rillie Dove and 
_ George Raft that were keeping the 
gossips agog about romance rumors. This 
month Millie has switched her affections to 
Austin Parker (of Miriam Hopkins fame) 
and they say it's serious! 

DID you know that Ethel Barrymore 
hale- to be interviewed by women re- 
porters? The reason is that she is just plain 
frightened of them. So far Ethel has been 
interviewed listen men — and one woman. 
{Continued on page 82) 



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Bullets, Bolo Knives and 

Broken Bones Haven't 

Stopped Tom Mix 

(Continued from page 25) 

staged a pitched battle in the street, as was 
the custom of those days. I got in the way 
of a wild bullet from a politician's gun and 
stopped it with the fleshy part of my left 
leg. 

"The closest shave I ever had, though, 
was the one I got right through here." Mix 
pointed to a region below his heart. " I was 
a U. S. Marshal on river duty near Capa- 
blanca, Texas. That was in 1904. I was on 
the lookout for rustlers who were driving 
cattle across the border into Mexico. I fol- 
lowed a band herding about a thousand 
head of cattle and caught them just as they 
were fording the river. One of the rustlers 
plugged me through the ribs. A couple of 
inches higher and I'd never have known 
what hit me. 

"It was in Oklahoma that I got shot up 
worst. During the years that I was a Mar- 
shal in that state, I was plugged seven dif- 
ferent times. There isn't much to tell about 
these shootings. I was chasing outlaws who 
would come out shooting at the sight of an 
officer. I was lucky not to have been shot 
oftener.- 

"Much of this was due to the reputation 
I had in those days. I was proud of my 
record for arrests without gunplay and I 
reckon some of the fellows I captured re- 
spected my desire to bring 'em in alive. I 
know a lot of 'em shot only as a last resort." 

Shot Twice by a Murderer 

"T \ID you ever kill a man, Tom?" we 
l_y asked, feeling like a very small boy. 

"One," was the reply. "And I don't like 
to think about it. I didn't shoot the fellow 
until he had plugged me twice, through the 
arm and the stomach." 

Mix is extremely reticent about discus- 
sing the man he killed and only after con- 
siderable urging was the whole story told. 
He was sheriff of Washington County, 
Oklahoma, in 1909. Two horse-rustlers 
killed a rancher in cold blood and made off 
with his herd of live stock. 

"The rancher was a friend of mine and he 
was shot from ambush while he was cooking 
a meal at his campfire one evening. A rifle 
bullet bored him clean through the head 
from temple to temple. 

"Chasing those two rustling murderers 
was my job, outside of the personal angle 
that they had killed a friend of mine. I was 
on the trail for three weeks before I located 
them in a mountain hideout. Then for two 
days I scouted around, watching them, so I 
could learn their habits. I had to get them 
separated in order to have any chance of 
making an arrest. 

"The third morning I stole down to their 
barn before daylight and lay for the one 
who came out to feed the hosses. I jumped 
him and got him tied up all right, but the 
noise of our tussling warned his pardner. 
He came a-gunning. I yelled to him to 
surrender, as he was surrounded by officers. 
Reckon he knew I was alone, for he kept 
on shooting. First he hit me in the arm and 
then in the stomach. So I had to shoot him. 
All I wanted to do was to put him out of 
commission, but I had the tough luck to 
kill him." 

Though badly injured himself, Mix suc- 
ceeded in bringing in the other rustler 
alive. Although he didn't say so, it is more 
than likely that this unfortunate occurrence 
had something to do with Tom's resigna- 
tion as an officer of the law. At least toward 
the end of that same year, 1909, Mix 
turned his talents to trick-riding in the 




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"A very funny thing about my injuries 
is that I suffered only one broken bone 
in all the years I rode range and hunted out- 
laws. I had to get into trick-riding for the 
movies and circuses before I got really 
bunged up. I've been making pictures off 
and on since 1913 and have been in the 
hospital forty-seven times during that 
period with fractures and severe sprains. 
And somebody asked me not so long ago if 
film work was dangerous! 

" When I said only one broken bone, I 
was thinking of the fractured shoulder I got 
when my hoss was shot from under me 
once in Texas. I wasn't counting the break- 
ing of my nose in China during the Boxer 
uprising. That was an odd injury. I was 
pushing an army artillery wagon into posi- 
tion for action when an enemy shell took the 
wagon right out of my hands. A splinter 
from the spoke broke my nose and other 
splinters took all the skin off my head from 
the forehead back. I was scalped quicker 
than you can skin a cat." 

"Any other war injuries?" we inquired. 

"Got shot through the jaw in the Span- 
ish-American. Sniper's bullet hit me in the 
mouth, knocking out my front teeth and 
tearing out a piece of my jaw. Should have 
taught me to keep my mouth shut, but it 
didn't. 

"I was knifed in the Philippines — hand- 
to-hand encounter with a native armed with 
a bolo knife. Wicked weapon. And I got a 
bayonet wound on the Mexican border. 
That's all. / 

"I counted up once and found I had been 
knifed twenty-two times. When I was a 
sheriff and marshal, a lot of the bad men 
were knife killers. They were dangerous 
fellows — more dangerous than most gun- 
men. You never could tell when they were 
going to strike. 

Knifed Once by a Woman 

ONCE I was knifed by a woman — a 
Mexican. With my pardner, Joe 
Neil!, I was out after a murderer, Ned Bur- 
ton, I believe his name was. This Burton 
had a peculiar history. He was a faro 
dealer in Oklahoma, got paid ten dollars a 
night for dealing. One night he got into a 
crap game after the faro table closed and 
ran his ten dollars into a couple of thou- 
sand. 

"Unlike most of the fellows who make an 
easy pile, Burton didn't blow it in foolishly. 
Me used his money to grub-stake himself on 
a homestead claim and married a girl he was 
interested in, who worked on the line. A 
couple of years passed and he was doing 
fine. His wife, though, tired of ranch life 
and took to going into Oklahoma City, she 
said to visit her relatives. Actually, what 
she did was to go back to her old life for a 
couple of weeks. 

"Well, a neighbor of Burton's tried to 
tell him what was going on. Burton wouldn't 
believe him, threatened to kill him for 
slander. He was finally- persuaded to in- 
vestigate. He went to the City and found 
his wife just where his friend said she was — 
on the line. He killed her without a word, 
then t;ave himself up. 

" Public sympathy was all for Burton and 
the boys framed it for him to escape. A 
sheriff's officer was to take him to a bar- 
room, outside of which was a hoss all sad- 
dled and ready to go. The barkeep slipped 
Burton ;i nun and lie made good his escape. 
Just to make it realistic, the officer chased 
Inm to the door and fired a few shots in the 
air. But Burton lost his head. Misunder- 
standing, he turned and killed the officer. 

"The murder of an officer of the law 
could not go unpunished, according to the 
code of that day. So the gang was turned 
loose to catch the fugitive. It was a couple 
of years before we got trace of him in New 
Mexico, running a sheep ranch near Sunny- 
side, lie had taken a Mexican wife. 

"Joe Neill and I were sent out to get him. 




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He must have been warned, for when we 
got to his house, we found evidence of a 
hasty departure. The Mexican woman said 
her man had been gone for days, but we 
found fresh tracks and followed them to a 
nearby canyon. Joe and I split. He took 
one side of the canyon and I rode in from 
the other. 

When the Woman Slashed Him 

" T HADN'T gone very far when I heard a 
JL shot, followed closely by another. 
When I found my pardner, he was down, a 
.45 through his lungs. A short distance 
away lay Burton, dead. Joe died in my 
arms. Before he passed, he told me how he 
had come upon Burton, called to him to 
surrender and when the outlaw raised his 
gun, had shot him. Joe used a light .32-. 20 
and the bullet, while true, wasn't heavy 
enough to stop a man. Burton shot before 
he dropped, getting Joe. 

"Taking the two dead men, I returned to 
the sheep ranch. As soon as that Mexican 
woman saw her man, she started for me. 
She knifed me pretty badly before I could 
get her tied up. Next day I had to take both 
bodies and that crazy woman into town. 
She was sure a bad 'un. 

''I reckon I won't go into the other knif- 
ings. That one makes the best story. I've 
told you about all the shootings except the 
time bank robbers got me in Tennessee and 
the shot I stopped from a Hollywood bandit. 

"This last fellow got into the house and I 
came acrost him toying with the silver. He 
went out the window and I followed without 
stopping to pick up a gun. He must have 
heard me running after him and he turned 
to fire over his shoulder. His bullet plowed 
through my shoulder and I dropped. A 
second later he dropped, too. The tarnation 
fool wasn't looking where he was going and 
he ran right into a tree, knocking himself 
cold. 

"That about completes the score. I've 
had some narrow escapes but I'm still 
among those present. There isn't a single 
one of the things I've told you about that I 
wouldn't rather go through again in prefer- 
ence to the appendicitis operation I had last 
November. That busted appendix was the 
closest call of all." 

"Do you know," asked Mrs. Mix, "that 
Tom had one hundred and fifty-nine stitches 
taken before his last operation?" Turning 
to her husband, "And how many did they 
take for the incision, dear?" 

"About thirty," grinned Tom. "Did I 
ever tell you about my operation?" 




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Startling Lode Hook 

, Work and Love Revealed < 

NEW GUIDE TO NUMEROLOGY 
IVES QUICK ANSWERS 



If 



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doi 
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my 
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"To A Great Work'* 
—LOPEZ Speaking 

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Sincerely, 

(Signed) Vincent Lopez 



EASLEY Shows You How To Discover 
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Looking Them Over 

(Continued from page jy) 

GRETA NISSEN and Weldon Heybur 
newlyweds of a few months ago, a 
suspected of plans to "call it off." Ev« 
though they frequently make appearanc 
in public together at the Culver City nigh 
clubs, talk has it that it won't be long nc 
until the finale. 



ELISSA LANDI is a very lucky girl. S! 
was one of the few stars who manag] 
to get out of the Beverly Hills bank closi: 
before the institution called a tempora 
"quits." It happened this way: 

Elissa wanted to buy a home, but she \v 
worried that perhaps the one she had 
mind was too great an extravagance. Foi 
couple of weeks she pondered the de. 
wondering whether to buy or not to bu 
Finally, she decided that she must own tl 
lovely home — and, what's more, she pa 
cash for it. 

Exactly one week before they closed t 
doors, Elissa checked out her Beverly ba 
balance. And is she happy? 



EVERYONE who has had the privile 
of meeting her is crazy about Etl 
Barrymore, who is playing with broth' 
John and Lionel in " Rasputin." (She pU 
the Czarina.) To employ a very comm 
phrase for such an illustrious member of I 
royal family seems slightly out of order, l 
they say Ethel is "one grand scout." 

She is particularly amused at the serio- 
ness with which Hollywood takes Holly 
wood. The other evening she was invited to 
a dinner party and made the mistake of 
referring to the movies as "the business" 
and the producers as the "bosses." It was 
none other than Mary Pickford who serious- 
ly pointed out to Ethel that the correct 
references are, respectively, the industry 
and the executives. 



AN editor for a local publication recently 
l sent down his staff photographer to 
take Sunday frolic shots along Malibu 
Beach, playground of the stars. Finally, 
the photographer arrived at the home of 
Harry Bannister, who was apparently giving 
quite a nice, gay party. Several very pretty 
blonde girls were draped about the Ban- 
nister beach. Harry was invited to pose 
with a couple of the ladies. 

But he flatly refused. When pressed for a 
reason, he said with dignity: "I would not 
want to embarrass Ann Harding!" 

If that isn't post-divorce chivalry . . .? 



IN every picture, Joan Crawford's lower 
lip becomes more and more protruding. 
After watching several reels of the pouty, 
well-rouged lip of la Crawford in "Letty 
Lynton," a certain movie reviewer said: 

"That lower lip is going to come in handy 
in 'Rain.' They can use it for a water 
break!" 



WE hear that before Mary Brian left 
Hollywood on another personal ap- 
pearance tour she sweetly, but definitely 
told Russell Cileason that there wasn't a 
chance of wedding bells for them. Russ is 
said to be quite broken up about it. 



OWEN MOORE and his wife, Kathryn 
Perry, are not going through with last 
month's contemplated divorce plans. Owen 
and the popular "Kate" have decided to 
forget their differences and make up! 



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How the New 
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IEmE 



OCTOBER 





You belonq in this picture! 



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HER husband would probably notice 
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While she's taking such good care of the 
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Do you realize that while today's foods 
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become flabby and tender. If you haven't 



"pink tooth brush" already, you prob- 
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Ipana really cleans the teeth! And because 
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BRISTOL-MYERS CO., Dcpt.II-in.' 
73 Wesc Street, New York, N. Y. 

Kindly send me a trial tube of IPANA TOOTH 
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TOOTH PASTE 

A GOOD TOOTH PASTE, LIKE A GOOD DENTIST, IS NEVER A LUXURY 



HAROLD LLOYD 





MOVIE CRAZY 



CONSTANCE CUMMINGS 

Happiness for Millions Everywhere! . . . 
Entertainment for Everybody! . . .You'll 
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King of Comedy at his Very Best! . . . Fresh, 
fast, gloriously funny! . . . See it - - - sure! 




r_P 26 1932 



©C1B 166937 



THE TABLOID MAGAZINE OF THE SCREEN 

Movie Classic 



VOL. 3 No. 2 

c V 



r^o= 



OCTOBER, 1932 





GWILI ANDRE 

The Girl 
On The Cover 

The above photo- 
graph of Gwili 
Andre was taken 
by Cecil Beaton 
(right), famous 
English photog- 
rapher of beauti- 
ful women. And 
from this portrait, 
Marland Stone (below) painted 
the full-color portrait on the cover 
of this issue. Both men are artists 
at portraiture — as proved by the 
fact that both have produced start- 
ling likenesses of the Danish new- 
comer who has 
other Hollywood 
beauties so wor- 
ried. MOVIE 
CLASSIC is proud 
tobethefirstscreen 
magazine to pre- 
sent her thus to the 
world. Gwili, 
though new to 
Hollywood, has been in America 
about four years — and before 
being "discovered" by RKO was 
the highest-paid gown model in 
New York. She leads a secluded 
life, and is a bit of a mystery. Her 
first picture was "Roar of the 
Dragon." 




FEATURE ARTICLES 

Ruth Marries George and Everybody's Happy Elsie Randall 

How the New Income Tax Hits the Movie Stars Jack Grant 

Are Foreign Stars Hated in Their Own Countries? Tom Fraser 

Hollywood's Secret Marriages — (Who Can Tell?) Edward Madden 

Stars Put on a Show for the Olympics Muriel Babcock 

Lee Tracy, Fighting Mad, Kills a Rumor Don Winters 

Robert Montgomery Wants to Go Back to the Stage Mary Whiting 

The "Love Divorce" of the Chevaliers Dorothy Calhoun 

Bing Crosby Broadcasts the Date of His Surrender Nancy Pryor 

There's a Wedding ahead for Tallulah Bankhead Clifford W. Cheasley 

They Asked Him to Kiss Joan Crawford and Robert Young Blushed! 

Elisabeth Goldbeck 

MOVIE CLASSIC TABLOID NEWS SECTION 

Harry Bannister Denies He's "Engaged," but Girl Doesn't Janet Burden 

"Mysterious" Blonde Enters Chaplin s Life Evelyn Derr 

Ann Dvorak and Husband "Run Away" from Hollywood — Why?. Dorothy Donnell 

After Buster Keaton Gives Yacht to Wife, She Seeks Divorce Jerry Bannon 

Lina Basquetles "Love" for Jack Dempsey Wanes After Trip to Hospital 

Madge Tennant 

Johnny Weissmuller and Wife Part — Hollywood Puzzled Doris Janeway 

Ziegfeld Reported "Broke" at Time of Sudden Death . . . Joan Standish 

PICTORIAL FEATURES 



15 
16 
21 
22 
24 
26 
41 
42 
44 
51 

52 



28 
29 

30 
31 

32 
33 
34 



Clara Bow 35 

dive Brook 36 

Marian Nixon 37 

Myrna Loy 38 

Cecelia Parker 39 

Richard Bennett 40 



Gloria Stuart 45 

Jack I Jolt 46 

Marion Davies 47 

Ann Dvorak and David Manners 48 

Constance Bennett 49 

Joan Marsh 50 



MOVIE CLASSIC'S DEPARTMENTS 

Between Ourselves Larry Reid 6 

Hollywood Ticker Talk Mark Dowling 10 

Our Hollywood Neighbors — Close-Ups Marquis Busby 12 

Looking Them Over — Hollywood Gossip Dorothy Manners 1 8 

Taking in the Talkies— Reviews Larry Reid 56 

COVER DRAWING OF GWILI ANDRE BY MARLAND STONE 



CJ^T 



DOROTHY CALHOUN, Wtilern Editor 



=0^s 



T^O 



STANLEY V. GIBSON, Publisher 
LAURENCE REID, Editor 



HERMAN SCHOPPE, Art Diitctor 



Movie Classic is published monthly at 330 E. 22nd St., Chicago, 111., by Motion Picture Publications, Inc. Entered as second class matter July 20. to.u at the Past 
Office at Chicago, Illinois, under the Act of March 3, 1870: pointed in U. S. I Editorial and Executive Offices, Paramount Building, 1301 Broadway, New York 1 i/v. .VI. 
Copyright 1032 by Motion Picture Publications, iNC.y .Single copy roc. .Subscriptions for V . S.. its possessions, and Mexico $1.00 a year, Canada $2.30. 
( ounlries, $2.50. European Agents. Atlas Publishing Company, 18 Bride Lane, London, E. C. 4- Stanley V. Gibson, President and Publisher, William S. Prim, Vie* 

President, Robert E, ( anfield. Secretary-Treasurer. 



MOVIE CLASSIC comes out on the 10th of every Month 



Between Ourselves 



JOHN GILBERT'S fourth marriage (to Virginia Bruce) may 
have been a surprise — but that was nothing, compared to the 
surprise packed in his new picture, "Downstairs." He wrote it 
himself, and with it he is trying a sensational experiment. Once 
the Great Lover and long a popular hero, he now becomes a 
villain! As a chauffeur in a castle in the Balkans, he swerves 
from one intrigue to another, his villainies constantly mounting, 
until finally there is a cataclysmic ending to them all. The world 
will be talking about John Gilbert again when it catches a 
glimpse of what he has done. If 
I am not mistaken, the world will 
be raving about him again. 



to make, over and over, only the types of pictures that have 
proved to be money-makers. 

If such a theory had been in practice a few months ago, 
"Grand Hotel" — an experiment in all-star casts — would not 
have been filmed as it was; "Bring 'Em Back Alive" — an ex- 
periment in jungle pictures without romance — would not have 
been made; and "Strange Interlude" — an expensive experiment 
in showing characters' inner thoughts — would have been made 
some other way. And look at the hits these novelties have been! 



WELL, well, well — what do 
you know? The movies 
have been vindicated as being fit 
for children! The British Com- 
mission on Educational and Cul- 
tural Films (sounds impressive 
enough, doesn't it?) has just 
finished a two-year international 
inquiry — and the good old motion 
pictures are being actually praised 
for what they have done, and are 
doing, for children! American 
censors please note. 

The investigation revealed that 
"films encourage children to read 
more widely, enlarge the vocab- 
ulary, enrich personal experience" 
and that "the morally question- 
able element in films is ignored 
by children of school age." Take 
that, and that, and that! 

Wonder how the Commission 
would have liked some of the 
recent titles on the theatre sign- 
boards? Aren't the movies, with 
such titles as these, being just a 
little too self-consciously naughty ? 

It's like trying to get people inside the theatres by socking them 
in the eyes. 

HELEN HAYES, who is about to make "The White Sister" 
and is debating whether or not she will give up the stage 
for the screen, declares that the actress who is doing the most for 
the stage today is Eva Le Gallienne, actress-manager of the Civic 
Repertory Theatre in New York. Helen points out that the 
famous daughter of Richard Le Gallienne, the poet, "can do 
anything from Peter Pan to Juliet, and do it superbly." And 
yet we haven't heard any rumors that the movies have been 
pursuing her! They'd better get busy. The movies could stand 
another good actress — or even two of them. 

SOME of the producers seem to be getting hard-boiled. They 
are intimating that they are through "coddling" their stars. 
From now on, the stars will listen to the producers about what 
pictures they will make, and how they will make them; the 
producers are through doing the listening. They claim that they 
are in closer touch with the box office than the stars are, and 
accordingly know better what will go over at the box office, and 
what won't. They are through trying to make "artistic pictures" 
and will let the public — not the would-be artists — tell them what 
pictures to make. 

I don't like the sound of this. It sounds like a stifling of ex- 
perimentation in screen drama. It sounds as if studios are going 



A GRAND FELLOW PASSES 

James Quirk — "Jimmy" to everyone who knew 
him — is gone, and all Hollywood is in mourning. 
Jimmy's heart, which always beat double-time for 
Hollywood, suddenly stopped pulsing — and the 
movies lost one of the best friends they have ever had, 
or ever will have. But he was more than a friend of 
the stars and executives. As publisher and editor of 
"Photoplay," he was the public's friend first. First, 
last and always, he was there to tell the truth — and 
he was there to fight for better pictures — and to give 
credit when those better pictures came along. Pub- 
lishing was more than a business to him,- it was a 
great game of truth-telling and fighting for ideals. 

As a competitor of his, we — perhaps better than 
anyone else — can testify to his fairness. We respected 
Jimmy Quirk. He was the kind of man who did not 
let business get in the way of friendships. He was a 
grand fellow, with a sense of humor that was irresis- 
tible; as independent as he was Irish; and more color- 
ful than most of the stars he wrote about. He died 
where he would have wanted to die — in Hollywood, 
which is infinitely the poorer with his passing. 



HOLLYWOOD is crowded 
with so-called independent 
film companies — but the "in- 
dependent" often doesn't mean 
what it might. It means that 
they are independent of each other, 
not of the box office. 

I often wonder what would 
happen if a group of first-calibre 
actors and actresses and directors 
banded together, on the order of 
the New York Theatre Guild, 
and presented only films of ar- 
tistic merit. Back in its early 
days, the Theatre Guild scorned 
the box office and catered to art — 
and today it is the most powerful 
theatrical organization in New 
York. It has educated the theatre- 
going public to the idea that 
the Theatre Guild never presents 
trash, and the public appreciates 
the fact. I'm convinced that a 
similar organization in Hollywood 
would meet with like success. 
I'm convinced that the public 
not only deserves — but wants — 
more memorable movie dramas 
than it is getting. 



THERE are some noteworthy stories, however, soon going 
into production that should be worth watching for. I'm 
thinking of "Green Pastures," the amusing spiritual of the 
colored race; "The Good Earth," the epic novel of China by 
Pearl S. Buck; "The Barretts of Wimpole Street," the drama 
about the romance of the poets, Robert Browning and Eliza- 
beth Barrett; "The Moon and Sixpence," Somerset Maugham's 
great story of a conventional man who broke free and be- 
came an artist; "The Animal Kingdom," the amusing Philip 
Barry play about a man who married the wrong woman and 
did something about it; and "The Miracle," the great passion 
play. 

"T3-R-RIGHT now," I want to pay tribute to Maurice Cheva- 
JLxJier in "Love Me Tonight." One of the film's songs has it 
that "the son of a gun is nothing but a tailor" — yet, to my mind, 
he is one of the least tailor-made stars. Clothes don't make 
Chevalier what he is. It's finesse. He makes love in whispers 
where some of the boys (you know the ones I mean) would 
shout their emotions. And when you think of it, aren't most 
lovers whisperers? 




The sensational CHANDU, The Magician, greatest of all 
radio mystery thrillers NOW on the screen — thanks to Fox 
Film. Millions have sat spellbound, listening to the ex- 
ploits of daring of this super magic maker— NOW you 
can both see and hear and CHILL with CHANDU and 
his further adventures in this marvelous Fox Film. 





THE^ MAGICIAN 



IRENE BELA HENRY B. 

WARE • LUGOSI • WALTHALL 

DIRECTED BY MARCEL VARNEL AND 
WILLIAM C. MENZIES 

T U R 



STAR POWER* 




Marion Davies Norma Shearer 



Joan Crawford Marie Dressier Greta Garbo 




Jimmy Durante Buster Keaton 




r\ 



Ramon Novarro 


John Gilbert 


La 


urel & Hardy 




Other 


M-G-M Personalities: 




Lewis Stone 




Conrad Nagel 




Louise Closser Hale 


ff-^ 


Polly Momn 




Robert Young 




Ruth Selwyn 




Jean Hersholt 




Nils Asther 




Diana Wynyard 




Jean Harlow 




Wallace Ford 




William Bakewell 




John Weissmuller 




Ralph Graves 




Helene Barclay 




Walter Huston 




Neil Hamilton 




Virginia Bruce 




Maureen O'Sullivan 


Myrna Loy 




Mary Carlyle 




Anita Page 




Una Merkel 




Claire DuBrey 




Karen Morley 




Verree Teasdale 




Muriel Evans 




Dorothy Jordan 




Helen Coburn 




Lawrence Grant 


r -"^^^H 


Leila Hyams 




Nora Gregor 




Gertrude Michael 


^■1 


Joan Marsh 




Hedda Hopper 




Kane Richmond 


-J' 


John Miljan 




Diane Sinclair 




May Robson 



Directed by Edmund Goulding 
From Vicki Bourn's Play 



nORmA SH6AR6R 
. . . CLARK GABL6 

STRAnGe ImeRLUDe 



Eugene O'Neill's Prize Play 
Directed by Robert Z. Leonard 



METRO- 



• 



Lots of people avoided disappointment during the past year by making 
sure it was an M-G-M show before they bought their tickets. They saw, 
among other hits, such unforgettable M-G-M attractions as, "EMMA". . . 
"HELL DIVERS"... "POSSESSED"... "TARZAN THE APE MAN"..."MATA HARI". . . 
"THE CHAMP"... "RED-HEADED WOMAN"... space prevents listing them oil! 
A new season of motion pictures is here. Again you may safely depend 
on M-G-M. The welcome roar of the M-G-M Lion awaits you at your 
favorite picture theatre! Under his banner appear the stars who light 
the movie sky with joy. 




Clark Gable 



Wallace Beery John Barrymore Ethel Barrymore Lionel Barrymore 




Helen Hayes 



Jackie Cooper William Haines 



Colleen Moore Rob't Montgomery 



M-G-M IS PROUD OF THESE !... DON'T MISS THEM! 

GRAND HOTEL . . . STRANGE INTERLUDE . . . NORMA SHEARER, FREDERIC 
MARCH in SMILIN' THROUGH . . . MARIE DRESSLER, POLLY MORAN in PROS- 
PERITY . . . JOHN, ETHEL & LIONEL BARRYMORE in RASPUTIN, THE MAD 
MONK. ..WALLACE BEERY in FLESH. ..JACKIE COOPER in FATHER AND SONS 

— and many others 



PV~ 




GOLDWYN-MAYER 



Ticker Talk 




Hollywood Quotations 



by 
Mark dowling 



LUPE VELEZ: "I DON'T REALLY KNOW WHETHER I'M ENGAGED, MARRIED, OR A GRASS WIDOW!" 

SYDNEY EARL CHAPLIN: "I WANT TO BE LIKE MICKEY MOUSE!" CHARLES CHAPLIN, JR.: "I 

WANT TO BE A COWBOY!" CLAIRE WINDSOR: "I SAY FRANKLY THAT I AM NOT AN ANGEL." 

MAURICE CHEVALIER: "AS THE WORLD KNOWS, MARLENE AND MYSELF ARE THE BEST OF 

FRIENDS, BUT THERE IS NO THOUGHT OF MARRIAGE BETWEEN US." MRS. CHEVALIER: "OUR 

LOVE WILL BE MORE LASTING WITHOUT MATRIMONIAL FALSEHOODS. CERTAINLY WE WILL SEE EACH 

OTHER— AND WHY SHOULDN'T WE LIVE TOGETHER AGAIN?" LINA BASQUETTE IN "SUICIDE 

NOTE" TO DEMPSEY: "I LOVE YOU AND CANNOT GO ON WITHOUT YOU!" JEANETTE MACDONALD: 

"I HAVE NEVER BEEN MARRIED TO ANYONE! I STILL SAY MR. RITCHIE AND I ARE ONLY ENGAGED!" 
MORTON DOWNEY: "BARBARA BENNETT AND I ARE EXPECTING A BABY FOR A CHRISTMAS PRES- 
ENT." GRETA GARBO: "PLEASE GO AWAY. I AM GOING TO SWEDEN FOR A REST. PLEASE GO 

AWAY.". .... .GEORGE JESSEL: "OF COURSE, NORMA AND I ARE IN LOVE!" NORMA TALMADGE: 

"I AM MARRIED AND SO IS GEORGE. IT IS STRICTLY BUSINESS BETWEEN US!" LINA 

BASQUETTE: "THEY TELL ME I WROTE A NOTE TO DEMPSEY. I DON'T REMEMBER. AT TIMES MY MIND 

HAS BEEN A BLANK SINCE I FELL FROM A HORSE FOUR MONTHS AGO." EVALYN KNAPP: "I AM 

ENGAGED TO DONALD COOK, BUT AS LONG AS I AM APPEARING IN PICTURES THERE WILL BE NO WED- 
DING BELLS." BOBBE ARNST: "JOHNNY WEISSMULLER AND I HAVE BEEN REPORTED SEPARATED 

SO OFTEN IT IS A JOKE ! " JOHN GILBERT : "IT IS NOW 5 : 45 , VIRGINIA . WE ' LL BE MARRIED AT 6 . " 



Paul Muni, the New York actor who played the title role in "Scarface, " the 
much-censored gangster film, says, "I'll soon be known as the censored actor. 
At present I'm working on a Georgia chain-gang story, which will undoubtedly 
have trouble with the censors down South. 

"I went to my tirst opening last night," the actor adds humorously. "I'm 
never going to another! I got recognized once, though, when a kid on the 
sidelines yelled Hey! That's II V alter Huston! If I can't escape attending another 
opening I'll be sure to wear all my disguises." 

Paul has been to Hollywood before, you may remember, when he made 
" Seven Faces" and other films for Fox. " But if you talk about the early days of 
the talkies,'' he says, "it sounds as if you were talking about Queen Victoria or 
the days when Bryan was running for president. Yet it was only three years ago 
that I made 'The Valiant' . . . and I'm learning new 
things every day. 

"Microphones were rare then — we had only half 
enough to go round. No one thought talkies would 
last. We used to wait till the actors on the next set 
finished with their mikes, and then we'd borrow them. 

"This chain-gang story," he adds more seriously, 
"will be another swell picture. The only difference 
from 'Scarface' is that that took us one year and this 
is going to be finished in five weeks'" 

Paul is trying to forget Scarface, a role he liked "even 
though the censors wouldn't let him be human. "He'd be 
trilling to start anew with each picture — an unknown. 
He wants to give the fans a different Muni every time. 

10 





Cora Sue Collins, the coming baby star of the 
moment, is just five years old, and she says, "I like 
ice cream cones!" Under considerable prompting 
from her mother, she will add, "And I like the 
movies, too!" 

Her mother, however, speaks for her, and tells a 
dramatic story of Cora's coming to Hollywood. 
"Things were pretty bad at home," she says. "Cora's 
father lost his business, and it's hard on a man to lose 
everything he has worked for all his life. We weren't 
very happy. 

"I knew little Cora had talent — she's shown that 
ever since she was three days old! — but I didn't have 
enough money to buy a ticket to Hollywood. I 

visited the editor of our local paper and he agreed to pay the bus-fares for myself, 
Cora, and her little sister. 

" 1 refused to drag Cora through casting offices, and we stayed for six months 
in Hollywood without anything turning up. We were nearly starving when one 
day the wife of a casting director saw Cora on the street, and through this lucky 
break she was given her first part. 

"Now two big studios are offering her contracts, so it looks as if our troubles 
are over. Now some of the mothers of other acting children seem to resent that a 
little girl from out of town is getting such big parts. I'd like them to know that 
many's the time I have sat in casting offices and shut my eyes and said to myself 
— //' there is anyone here who needs that part worse than we do. I hope they get it! 
I remember once that happened when we had only five cents left in the world! " 



Mail" 








«?j 



hmjJkmofikMi/j 

I ^^lANT planes roaring through 
^^ the night . . . battling the fury 
of the elements so that you and I 
may receive our letters in a hurry 
. . . Brave men . . . and braver women 
...Living, Loving, Hating, Fighting. 

This picture, dramatic in the extreme, 
takes you right into the lives of the air- 
pilots. An exceptional cast with 

RALPH BELLAMY 

GLORIA STUART, PAT O'BRIEN, SLIM SUM- 
MERVILLE, LILIAN BOND, RUSSELL HOPTON, 
DAVID LANDAU, LESLIE FENTON, FRANK 
ALBERTSON, HANS FURBERG, TOM CARRIGAN 
and WILLIAM DALY. 

Directed by 30HN FORD 




Ufiii>€*A€ul ^pictiwieA 



CITV. CALIFORNIA 



Carl Carmmlr 
Pre*id*nt 



7J0 FIFTH AVENUE. NEW V O « «. 



11 




Our Hollywood 

EIGHBORS 



GOINGS-ON AMONG THE PLAYERS 

By MARQUIS BUSBY 



THE sight of three (count 'em) Barrymores all getting 
up emotional steam and acting in the same picture is 
a thrill that comes once in a lifetime. We were taken on 
the "Rasputin" set at M-G-M, and seeing Lionel, Ethel 
and John, all served with Russian dressing, was a darned 
big moment. The only thing to compare with it was the 
time we were taken as a child to the top of Pike's Peak. 

Incidentally, they're having a lot of fun working 
together. It's a pretty impressive picture in the filming. 
Ethel wears the most regal duds you've ever seen as the 
Czarina of all 
the Russias. 
Lionel, of 
course, is the 
mad monk, Ras- 
putin, and John 
is a perfectly ele- 
gant grand duke. 
Other M-G-M 
stars sneak on 
the set to watch 
the gorgeous 
court proces- 
sionals, and the 
day we were 
there, Tallulah 
Bankhead was 
on the sidelines, 
as much agog 
over it all as the 
Canadian Olym- 
pic athletes, pay- 
ing their first 
visit to a studio. 

John's court 
costume weighs 
40 pounds, and 
his boots reach 
to his thighs. 
Lionel observed 
his younger 
brother very late 
in the day, and 
remarked — "the 
boots are all that's holding him up." 

Ethel carries the most wardrobe poundage — her court 
dress and jewelry weigh 60 pounds, and are exact replicas 
of the regalia worn by the honest-to-gosh Czarina. 



IT seems like the good, old days of movies are back with 
us again. There is "Rasputin," with hundreds of 
extras at M-G-M, and over at Paramount, C. B(athtub) 
DeMille is deeply engrossed in "The Sign of the Cross," 
a religious picture with worldly trimmings. DeMille 
still wears puttees, and that carries us back to the pre- 




sound era when all self-respecting directors came fully 
equipped with puttees and megaphones. 

There are 7500 extras in this opera — and most of 'em 
have curly hair. It seems no Roman who amounted to 
much would think of being born without ringlets. Natur- 
ally, the curling iron is the most valuable prop on that 
picture. 

Fredric March, who is playing the Roman prefect, has 
to have his hair curled five times a day. And for the first 
time on the screen he is revealing his manly limbs in all 

their pristine 
glory. He's tak- 
ing a lot of kid- 
ding about it, 
too. It seems 
they are very 
good legs, and 
his studio pals 
are telling him 
he should take 
up musical com- 
edy. 

When it's all 
over, Freddie is 
going to get 
away from cur- 
ling irons and 
bare legs and go 
to Europe for a 
vacation. It will 
be the first time 
across for his 
wife, Florence 
Eldridge, and 
Freddie wants to 
show her all the 
very best cathe- 
drals and cha- 
teaux. 



Here's how Clark Gable's neighbors mob him, every time he tries to become "just 
one of the crowd." He was trying to attend a polo game at Santa Monica — but he 
forgot to wear a false beard and red hair. Onlookers, forgetting the game, surrounded 
him for autographs. Notice how well he takes it. And polo is his favorite game, too! 



IT took a 
eign lady 



for- 
to 
show the Holly- 
wood girls something original and snappy in the way of 
radio speeches at a premiere — and radio speeches out here 
can be very trite and tiresome. 

The Crown Princess Brenda of Kapurthala, which 
sounds like something out of Graustark, was invited to 
greet the listening public at the premiere of "Back 
Street. " Everyone expected the princess to say something 
pretty classy, for after all crowned heads don't show up 
every day. She approached the radio — and this was her 
cheery, original greeting — 
" 'Ello, everybody." 

(Continued on page 63) 



12 





pi 


i 



He has bedroom eyes- 
and a nose for news . . 



// i/( /to *w ^-^ 









Predicts babies like the weather 
bureau predicts the weather . . . 




Sells scandal by the square inch— and 
cleans up in the shock market . . . 




Here it is! The scandalous comedy 
of a scandal columnist who rose 
FROM A KEYHOLE TO A 
NATIONAL INSTITUTION 




WARMER BROS. 

set another new style in 
picture production by bring- 
ing you the sensational 
New York stage success 



BLESSED 
EVENT 

wi t h LEE TRACY . . . MARY BRIAN 

DICK POWELL 

Directed by ROY DEL RUTH 




Tlie famous Longacre 
Theatre where New York 

4 rou ilt'd to pay $3.30 a 
seat to see "Blvsscd Event'* 



tittm 



Sees all — knows all — 
and tells everything! 



The private life of the 
man who abolished pri- 
vacy. . .The lowdown on 
the Gossip King whose 
name bounced from 
Broadway 'round the 
world!... Take the Los 
AngelesTimes'v/ ord for 
it — "it's the best screen 
entertainment seen in 
many a day" . . . By all 
means watch for your 
theatre's announce- 
ment of this great hit. 



WARNER BROS. 

will brincj ijou the new season's 
biqqest thrills! 



13 



e LcdlL 




THIS PASTE TO CLEANSE AND POLISH 




THIS ANTISEPTIC TO KILL GERMS 



It is true that Listerine Tooth Paste will cleanse your teeth thor- 
oughly and give them a marvelous brilliance and luster. It is true 
also that it will remove germs from gum and tooth surfaces. 

But Science now says that such treatment is not sufficient to 
combat tooth decay properly. 

After such cleansing, the gums and teeth should be rinsed with 
Listerine, the safe antiseptic, because dental authorities have now- 
found that the lactobacillus germ causes tooth decay. Listerine is 
fatal to this germ, as it is to all others. 

Because of the marvelous cleansing ability of Listerine Tooth 
Paste, and the luster and brilliance that its polishing agents give 
to teeth, we hope that you will use it. But whatever tooth paste 
you use, don't forget to rinse the mouth with Listerine afterward. 

Then you know that you are killing the germs which cause 
tooth trouble and at the same time you are cleansing the mouth and 
rendering the breath sweet and agreeable. Lambert Pharmacal Com- 
pany, St. Louis, Mo., U. S. A. 




?imaI^ m/i 





Listerine Tooth Paste . 25^ . . • 

Listerine Antiseptic 




w w 




14 



THE TABLOID MAGAZINE OF THE SCREEN 

Movie Classic 



cy 



o^o 



V^ 



By 

ELSIE 

RANDALL 



I Pi** <>w . 
w 9U A * 

If * 


^1 1 




1 

• 


• 


a 

■■•■ 


bH IS 


*■ 

• 1 





The day after Ralph 
Forbes gave her a 
friendly divorce, Ruth 
Chatterton became the 
bride of George Brent 
— and thus brought an 
all-around happy end- 
ing to one of the most 
involved love stories 
in Hollywood history 



■ 



Ruth Marries George 

And Everybody's Happy 

T: 



r OO happy for words!" Ruth Chatterton said to 
reporters, just after the ceremony at Harrison, 
New York, on August 13, when she became the 
bride of her leading man, George Brent. Out 
in Nevada, where he had obtained a divorce from Ruth 
the day before, Ralph Forbes wished the newlyweds 
"every happiness" and meant it. The romance of Ruth 
and George is an unusual one, and behind their love story 
lies an unusual triangle a triangle with eight angles. 

Ironically enough, there is a similarity in the way both 
romances of Kurh Chatterton's started. When she was 
starring on the stage in "The Little Minister." she chose a 
young English actor, Ralph Forbes, as her leading man— 
and later married him. (That was eight years ago.) For 
her first picture under her new contract at Warner 
Brothers, "The Rich Are Always with Is." Kurh chose a 
young Irishman, George Brent, to be her leading man — 
and later married him. (After their mutual friend, Mr. 
Forbes, had obligingly sought a divorce on the familiar 



grounds of "mental cruelty and divergence of tastes.") 
No less a person than Kuth, herself, revealed just how 
obliging Ralph Forbes was, when she returned from a 
vacation in the Austrian Tyrol on August 12 — the day of 
the divorce. She surprised reporters by asking them if she 
had yet been divorced; she said she hadn't heard, liny 
hadn't yet heard, either. They asked her why Mr. Forbes 
was getting a divorce. "Why," said Kuth, "because I 
asked him to. I le's a perfect darling, you know, and we are 
great pals." I he reporters lifted eyebrows, bur Ruth 
insisted that she was nor joking. 

How Romance Began 

JUST when and how did the ( 'hattt rton-Brcnt romance 
begin? According to the "insiders." Kuth was looking 
over screen tests of various actors, in the studio dark room, 

seeking a leading man for "The Rub Are Always with 

Us" when Brent's likeness was (lashed In lore her. 
nl 1 nurd on page 66) 

15 




Charlie 




Mary 




Douglas 




C 
<o 

O 

o 
o 

o 
o 

"«* 



Constance 




Harold 




Will 




Ruth 




Marion 




Richard 




o 
o 
o 

> 

o 
o 

4* 



o 
o 
o 

o 
o 

CO 




United States Treasury 
(Acme) 



■sHhe ifi 

Movie Star 



The bigger the salary, the bigger the tax. John Gilbert and Will Rogers 
are among those who will pay Uncle Sam MORE" THAN HALF or what 
they earn, it is figured. Constance Bennett and Ann Harding are among 
those who will pay ALMOST HALF of what they make. Joan Crawford 
is one of those who will pay ONE-THIRD of their salaries in income 
tax. It's getting so that salary cuts are almost welcome in Hollywood ! 



It is obviously impossible to give abso- 
lutely accurate figures about film incomes. 
Salaries paid under studio contracts, with 
a few notable exceptions, are seldom avail- 
able for publication. Then there are scores 
of exemptions to be taken into considera- 
tion before a net income can be computed. 
With all accounts at hand, corps of Holly- 
wood tax experts labor weeks in making 
out returns. 

The writer does not have exact knowl- 
edge of either individual exemptions or in- 
come from outside sources. He can there- 
fore present only hypothetical deductions 
based upon confidential information, which 
he has reason to believe is approximately 
correct. For the table of tax percentages to 
which this information has been applied, 
he is indebted to Forest W. Monroe, noted 
Hollywood income tax authority. — Editor. 



NO longer is it necessary for you 
to wonder what becomes of the 
fabulous money that movie 
stars make. Take one look at 
the new income tax law and you have the 
answer. The government gets it. 

If there was ever a measure enacted to 
make most of us content with our relatively 
humble salaries, the 1932 income tax is 
that little pacifier. We can well rejoice in 
the knowledge that even if we had it, it 
wouldn't do us any good. For Congress 
apparently decided to put to use that old 

adage about " the bigger they come " 

The headaches already caused in Holly- 



wood by this new income tax, if placed end 
to end, or even side by side, would reach 
considerably farther than Washington. 
Choice bits of scandal have ceased to arouse 
the usual interest in Hollywood. The 
movie crowd is too busy figuring out an- 
other kind of interest. 

Gilbert's Big Tax 

AS a concrete example of how dark the 
jt\ Ethiopian in the woodpile is this year, 
take the case of John Gilbert. Everyone 
knows that John draws a half-million dol- 
lars a year for two pictures. Let's say that 
his income from other sources equals his 
exemptions and that the half-million is 
therefore net. Upon that sum he paid a 
surtax last year of 20 per cent. This year, 
he will be requested to pay #263,720, or 
52.7 per cent, if his net income is the same 
— more than fifty-two cents of every dollar he 
earns. 

Under the act of 1928 which governed 
the 193 1 income tax, the maximum surtax 
— the additional, graduated tax for the 
higher income brackets — was twenty per 
cent. This year, it runs as high as sixty- 
three per cent — eight normal and fifty-five 
surtax. And that's hard to take, even if 
you are earning millions. 

Most studio contracts, specifying a 
weekly salary, are for only forty weeks a 
year. Thus a salary of #3,500 usually 
means a total of #140,000, not #182,000. 
Constance Bennett is one of the few ex- 
ceptions, her contract covering the full 
twelve months. 



By JACK GRANT 



Her home studio changed the terms of 
its agreement with the star when Connie, 
deciding to turn her twelve-weeks layoff 
into golden dollars, contracted for two fea- 
tures on a rival lot. This was her much- 
publicized $30,ooo-a-week contract with 
Warners. RKO promptly revised its agree- 
ment with Connie and she is now said to 
be drawing $6,000 a week. That will make 
her income from pictures in excess of 
$450,000 this year — $312,000 from RKO 
and $150,000 from Warners. On this 
amount, she must pay approximately fifty 
cents on every dollar for income tax, less 
exemptions. 

Will Pays More Than Half 

WILL ROGERS' film salary is also 
$450,000 — he is paid $150,000 for 
three pictures a year. His writing brings 
him tremendous additional sums, as does 
his frequent radio and theatrical work. It 
would be difficult to estimate his total 
yearly earnings, but it is safe to say he 
must pay more than half to the Govern- 
ment. 

There are few larger incomes than Will's 
in the film col- 
ony. Possibly 
topping Rogers 
are Charles 
Chaplin, whose 
grosses from 
"City Lights" 
are said to ex- 
ceed three mil- 
lions to date; 
Harold Lloyd, 
Douglas Fair- 
banks, Mary 
Pickford, and 
Norma Shearer 
and her husband, 
Irving Thalberg. 
Norm a is re- 
puted to be re- 
ceiving $6,000 
weekly, while 
Thalberg, who is 
production chief 
of M-G-M, 
draws an even 
larger sum. The 
Thalberg's joint 
net earnings un- 
doubtedly place 
them in the fifty 
per cent tax 
bracket. 

Among those 
earning between 
three and tour 
hundred thou- 
sand, we find 
John Barrymore, 
Ruth Chatter- 
ton, William 
Powell, Ann 
Harding, Rich- 
ard Barthclmess, 



The following computations 


compiled by 


Forest W. 


Monroe, Hollywood tax expert, 


are based upon the net 


income of 


individuals 


receiving 


an income 


of, or over 


$10,000 for 


the calendar year 1932. No allowance has 


been made for dividends received or dependents. 




Norma! 


Surtax 


Total 


Total Tax 


NET 


Tax 


Married 


Tax 


Joint Return 


INCOME 


Single 


or Single 


Single 


Married 


$ 5000 


$ 160 




$ 160 


$ 100 


7500 


360 


$ 15 


375 


255 


10000 


560 


40 


600 


480 


12000 


720 


80 


800 


680 


14000 


880 


140 


1020 


900 


16000 


1040 


220 


1260 


1140 


18000 


1200 


320 


1520 


1400 


20000 


1360 


440 


1800 


1680 


22000 


1520 


600 


2120 


2000 


24000 


1680 


780 


2460 


2340 


26OO0 


1840 


980 


2820 


2700 


28OO0 


2000 


1200 


3200 


3080 


30000 


2160 


1440 


3600 


3480 


32000 


2320 


1700 


4020 


3900 


36000 


2640 


2300 


4940 


4820 


38000 


2800 


2620 


5420 


5300 


40000 


2960 


2960 


5920 


5800 


42000 


3120 


3320 


6440 


6320 


44000 


3280 


3700 


6980 


6860 


46000 


3440 


4100 


7540 


7420 


48000 


3600 


4520 


8120 


8000 


50000 


3760 


4960 


8720 


8600 


52000 


3920 


5420 


9340 


9220 


54000 


4080 


5900 


9980 


9860 


56000 


4240 


6400 


10640 


10520 


58000 


4400 


6920 


11320 


11200 


60000 


4560 


7460 


12020 


11900 


62000 


4720 


8020 


12740 


12620 


64000 


4880 


8600 


13480 


13360 


66000 


5040 


0200 


14240 


14120 


68000 


5200 


9820 


15020 


14900 


70000 


5360 


10460 


15820 


15700 


72000 


5520 


11120 


16640 


16520 


74000 


5680 


11800 


17480 


17360 


76000 


5840 


12500 


18340 


18220 


78000 


6000 


13220 


19220 


19100 


KCKKK) 


6160 


13960 


20120 


20000 


82000 


6320 


14720 


21040 


20920 


B4000 


6480 


15500 


21980 


21860 


HI,(XX) 


6640 


16300 


22940 


22820 


88000 


6800 


17120 


23920 


23800 


"0000 


6960 


17960 


24920 


24800 


02000 


7120 


18820 


25940 


25820 


04000 


7280 


19700 


26980 


26860 


06000 


7440 


20600 


28040 


27920 


98000 


7600 


21520 


29120 


29000 


100000 


7760 


22460 


30220 


30100 


150000 


11760 


46460 


58220 


58100 


200000 


15760 


70960 


86720 


86600 


300000 


23760 


120060 


144720 


144600 


400000 


31760 


171060 


203720 


203600 


500000 


30760 


223060 


363720 


263600 


750000 


S0760 


356460 


416220 


416100 


1000000 


79760 


491460 


571220 


571100 



Marion Davies, George Arliss, George Ban- 
croft and others. All will pay taxes for 1932 
of approximately forty-six per cent of the 
net figures. Jeanette MacDonald, also, is 
close to being in the fifty-fifty class, with 
her screen, radio and concert earnings. 

Ruth Chatterton and William Powell are 
both under contract to Warners for two 
years, the first twelve months having just 
ended. Their agreements were originally 
identical, reputedly calling for three pic- 
tures at $100,000 each the first year and 
three more at $125,000 each the second. 

Ruth, however, had her contract changed 
to read $112,500 apiece for six pictures, 
which amount has been paid pro rata in a 
weekly wage. She said that, as she was 
not a business woman, it would be easier 
for her to work this way. Warners hu- 
mored her and, as it turned out, Ruth's 
whim will be the means of saving her sev- 
eral thousand dollars in taxes, now that the 
Government has boosted the tax rate. 

Ann Harding draws a straight $80,000 a 
picture for four this year. Her studio holds 
an option for an additional four next season 
at $100,000 each. Richard Barthelmess is 

paid $150,000 a 
feature, but 
makes only two 
a year. When 
recently ap- 
proached to take 
a reduction, he 
agreed to make 
another picture 
without charge 
this season. This 
makes his salary 
$100,000 per pic- 
ture. George 
Bancroft re- 
ceives a like fig- 
ure as, it is un- 
derstood, did 
George Arliss, 
before he re- 
cently agreed to 
a cut that now 
makes his in- 
come approxi- 
mately $80,000 a 
picture. Marion 
Davies is said to 
have d r a w n a 
straight $10,000 
weekly for forty 
weeks, until she, 
like practically 
c \ ( 1 \ other star 
in town, recently 
agreed to a sal- 
ary cut. 

In the two 
hundred to three 
hundred thou- 
s .1 n d doll a 1 s 
bracket, accord- 

( Continued on 
page 69) 



o 
o 
o 

o 
o 

oo 



O 
O 
O 

o 
o 

CN 




Marie 




Maurice 




Tallulah 




Ronald 






O 

o 

in 

CO 




Gary 



Kay 




Robert 



■I 



Besides being armed 
with beauty, Dorothy 
Bartlam (right) is using 
a sword in carving out 
a career for herself. 
She's English, and 
you'll be seeing her 
in "Fires of Fate" and 
"The Love Race" 



Is Andy Devine, the young whis- 
pering comedian, about to embark 
on the matrimonial seas? There's a 
rumor afloat that Alene Carroll will 
soon be keeping house on Andy's 
houseboat 




Looking 
Them Over 

Gossip From The West Coast 

By 
Dorothy Manners 



Ray Jones 



SEEN atthe Grauman's Chinese premiere of "Strange 
Interlude": 
A very sunburned Jean Harlow in a flesh colored 
evening gown. The only make-up she wore was lip 
rouge. This is a new style motif for the platinum blonde, 
who used to wear plenty of make-up. 

Constance Bennett smiling sweetly at the news photog- 
raphers who were "snapping" her with her director, 
George Fitzmaurice. This smiling at photographers is also 
something new for Connie. She was the most simply 
gowned woman at the event. Her dress was black, with 
silver shoulder straps. 

Mary Pickford in pink, strolling about on the arm of 
Gary Cooper, at intermission. Mary, it is said, wants 
Gary to be her co-star in her new picture. 

Two little children in the sidewalk crowd were hurt. 
Above the excitement, you could hear the approach of 
the ambulances. Norma Shearer was dreadfully upset. 
The alarming sirens sent shivers down the bare stellar 
backs. 

Lilyan Tashman wore a dog-collar of diamonds and a 
very Grecian sort of coiffure. 

The electrician who flooded the lady stars with green 
lights during intermission must have had malice in his 
heart. The prettiest face looked like a bad bilious spell. 

18 



David Manners and Billie Dove strolled through the 
crowd holding hands. John Gilbert and Virginia Bruce 
tried vainly to get to the water boy. 

For the most part, the crowd was friendly and good- 
natured, but somebody yelled: "How does it feel to have 
$5.50 to spend for a movie ticket" ? 

After the picture had been on about an hour, a very 
celebrated gentleman in front of me fell asleep. The critics 
were divided . . . some liked it and some didn't. 

Somebody said that Clark Gable (as he grows older in 
"Strange Interlude") looks like a man who has stood out 
in a snowstorm too long. 



OVERHEARD on the Paramount lot: Gary Cooper, 
the old kidder, (putting his arm around an old girl 
friend and pretending to be very nervous about it): "Is 
your husband looking?" 

The girl: "No! Is the Countess?" 



WE hear tell that Frances Dee is very much in love 
with Charles Boyer, a young French actor, who is a 
great friend of Maurice Chevalier's. It is said that Frances 
and the young Frenchman have been on the point of 



eloping on several occasions until Frances stopped 
and remembered that the gentleman's professional 
work would keep him in France and she would 
have to remain in Hollywood. And that wouldn't be 
so good with a continent and an ocean between them 
— to say nothing of the high cost of cablegrams. 

Frances, could of course, at the end of her con- 
tract accompany her love to Pans. Is it any won- 
der that they say the girl is busily studying 
French? 





All punning aside, the romance of John Gilbert and 
Virginia Bruce was a tennis-courtship. The first time John 
met her, he asked her to play tennis. One love game led to 
another, until finally she consented to play opposite him 
"forever" 



What's this about a "break" between the newlyweds, 

Weldon Heyburn and Greta Nissen? If there ever was one, 

it's all over now. It looks as if they're seeing "eye to eye" 

again! 



A GIRL star who has suffered many romantic 
disillusions in her Hollywood romances was 
talking over her old beaux with a friend. After 
naming off one unfaithful swain after another, she 
sighed : 

" Ronald 
Colman was 
the only one 
who was ever 
consistent!" 

"Rona Id 
C o I m a n ? " 
gasped her 
pal. "I didn't 
even know 
y o u knew 
him!" 

"I don't," 
sighed the 
lovelorn, 
" But at least 
he's been con- 
s i s t e 11 1 in 
staving out 
of my life!" 

Here's a steer for 
you if you crave 
some adventure. 
Tom Keene, the 
hardridin' cowboy, 
docs some fancy 
one-arm driving, 
girls, in "Come 
On, Danger" — 
with a snappy one- 
sinter that boasts 
two horns 





JL r 



HE War- 
nerBroth- 
ers have given 
Hollywood 
quite a jolt! 
They have 
come right 
out and said 
that they 
are through 
catering to 
the tempera- 
mental whims 
and fancies of 
their con- 
tracted play- 
ers. No longer 
will they 
"coddle" any 
star, nor will 
they write 
into any fu- 
ture contract 
the privilege 
of the star's 
having any- 
thing to say 
about stories, 
directors or 
casts. 

Says Jack 
Warner: "We are running a business, not a 
favor factory. And what's more, I do nor 
think a player has the clear perspective to 
know just what it is the public wants. On 
the other hand, the producer is constantly in 
touch with the exhibitor and the box-office. 
He knows what does, or does not, click. I he 
players who raise the most fuss about their 
stories are the very ones who never investi- 
gate these conditions. From now on, no 
Warner Brothers star will have the privilege 
of holding up a production because he, 01 she, 
docs not like the story." No repon has been 
received from Warner players whethei they'll 
take it and like it but no further trouble is anti- 
cipated after the Cagney and Dvorak walk-out. 



Kornman 

Don't be surprised if you hear 
romance rumors soon about 
Constance Cummings. She's 
Joel McCrea's girl in "Sports 
Page" 



19 



ON Bill's Birth- 
d ay , Carole 
Lombard and Wil- 
liam Powell gave 
their first large for- 
mal party since their 
marriage more than 
a year ago. Carole 
had invited about 
fifty people as a 
"surprise" for her 
husband. But two or 
three days before the 
part} r almost every- 
one Bill met hailed 
him with: "Tell 
Carole I'll be over 
Friday to her dinner 
party." When about 
thirty people made 
the same remark, 
Bill began to wonder 
if Carole had slightly 
lost her mind and 





Coburn 



Irene Dunne, with "Thir- 
teen Women" finished, is 
burning up golf courses 
again. She's Hollywood's „ 
best woman golfer 



invited the entire 
town to dine with 
them. Then he re- 
membered his birth- 
day and began to sus- 
pect what was up. In 
order not to ruin 
Carole's fun he put on 




Her European trip ended, Ruth Chatterton is 
back in Hollywood — and besides planning a life 
together, she and George Brent will probably co- 
star, also 



Besides stealing pictures, Wynne Gib- 
son has stolen Randolph Scott away 
from all the other girls. Doesn't that 
make her a pirate? 



CLARA BOW is temporarily 
Cecil B. De Mille's next- 
door neighbor on a high hill in 
Hollywood, while her Beverly 
Hills home is being re-decorated. 
Clara looks wonderfully well and 
managed to reduce her weight to 
117 pounds as "Call Her Savage" 
went into production. 

But here's the catch. Clara 
and Rex Bell miss their ranch 
"something awful." "Just onc 
or two more pictures for me," 
says the red-head. "Then Rex 
and I are going back for good " 



THEFox 
studio 
thought it 
had its hands 
full arranging 
interview ap- 
pointments 
with the new- 
ly tempera- 
mental Janet 
Gaynor. But 
Janet is com- 
paratively 
easy to con- 
tact, com- 
pared to 
Clara. When 
Clara re- 
turned to 
Hollywood 
there were 
seventy-four 
requests for 
interview ap- 
pointments 
from the local 
press people. 
Clara took 
one look at the list and nearly swooned. 
"If I saw all these people, I'd never get 
the picture made," she wailed. In view 
of the fact that she feels she can't meet 
them all, she has just about decided not 
to see any of them.' The publicity depart- 
ment is still arguing — and may win. Clara 
has always been an obliging girl. 



1EE TRACY pulled the classic line of 
^ the month in the following uncon- 
sciously humorous remark: 

"I do not think it is good for the public 

to know an actorsometimestakesadrink." 

Lee, you know, is pretty fast on the 

trigger. He thinks them up, just like that. 



Bichee 

Using an orange instead of 
a daisy, Maurice Chevalier 
"s saying, "She loves me — 
she loves me not." Wonder 
who "she" is? 



v^aroie s iun ne pui un «- i, B6 v - 1 * iiv - "««•*»» «•-»« -i-> j— — — - - -■--■- 

the old "surprise" act when the festivities began. Bill No wonder they gave him the wise-cracking columnist role 

is not the sort of fellow to queer anybody's good time, in "Blessed Event." Read what Lee says about himself 

least of all his wife's. So he never let on that he knew a few pages over. You're sure to know him better, 
a thing. Everyone had fun. (Continued on page 64) 



20 




Dolores Del Rio 



Greta Garbo 



Are Foreign Stars Hated 
in their own Countries? 

"Hate" may be a strong word — but Dolores Del Rio and Lupe Velez have recently been censured 
by Mexico, and their last pictures banned. Dietrich rates higher than Garbo in Sweden — and 
Greta is more popular in Germany than Marlene. Novarro is one foreign star who's an exception 
—he's a hit in all Spanish-speaking countries. You may be surprised to find out who are the 

biggest international favorites of them all! 



By TOM FRASER 



Mexico City — After the second day's showing at a local 
theatre, the Mexican Government ordered " The Girl of the 
Rio" starring Dolores Del Rio, closed. The film was roundly 
flayed by the press and public demonstrations were staged in 
protest against the characterization enacted by the star. — 
News Item 



THE publication of the above press despatch was 
the basis of considerable editorial comment in 
daily papers throughout the United States. News- 
papers recalled and quoted the proverb about 
"prophets without honor in their own country." Only 
in Hollywood was the occurrence regarded as routine 
news. For "unhonored prophets" are now an old story 
to 1 lollywood. 

It may surprise you, as it did the rest of the world, to 
learn that Dolores Del Rio is much more popular in this 
country and in Europe than she is in her native Mexico. 



You may also be amazed that Marlene Dietrich is re- 
garded as a bigger box-office attraction in Sweden than 
Greta Garbo, while conversely in Dietrich's fatherland, 
the Swedish Garbo outdraws the German girl two to one. 
In France, Jeanette MacDonald outranks them both, 
likewise towering in popularity far above such French 
women in American films as Lily Damita, Claudette Col- 
bert and the French-Canadian, Fifi Dorsay. 

These statements are not based Upon hearsay, but upon 
actual records of motion picture attendance in foreign 
lands. Then, too, there is the matter of billing. In Berlin, 
the advertising for "Morocco" read "Gary Cooper and 
\dolphe Menjou in 'Morocco,' with Marlene Dietrich." 
Some houses left Marlenc's name off altogether. 

Hollywood recognizes the supremacy of the American 
him star over native sons in European countries. Pop- 
ularity is not so fleeting in other countries as in America, 
Once an actor is established, he is assured of a following 
i Continued mi pa\ 

21 



Hollywood's Secret 
Marriages 

( Who Can Tell?) 



I 



By EDWARD MADDEN 




Gwili Andre is supposed to be 
engaged to a rich New York broker 
but there are those who say she is 
married to a Washington diplomat 



S George 
Raft secretly 
married? 
For a "yes" 
to that question, 
masculine Holly- 
wood would be 
willing to pay sev- 
eral thousand dol- 
lars — because the 
sleek, black-haired 
former gigolo who 
lately reached star 
prominence on the 
screen has stirred 
the hearts of the 
feminine members 
of the film 
colony more than 
any young man in 
many a moon — 
not excepting even 
the great Gable. 

The past life of 
this handsome 
screen menace is 
hidden by an at- 
tractive veil of mystery, which his studio's denials of 
every sort of rumor, Georgie's own smiling, but 
silent attitude, and his recent habit of hiring an 
impressive "bodyguard" (with a hint of secret 
enemies) does nothing to diminish. 

Hollywood greets most newcomers with a "Who 
are you?" and "Where did you come from?" — but in 
Georgie's case there seem to be hundreds of people 
all over town willing to tell, to any reporter who will 
listen, fantastic and startling stories that could not 
all have happened to one man, not even Georgie. 

The first hint of the Raft marriage rumors came 
when a beautiful star who had attracted Georgie's 
attention decided that she would like to know a little 
more about him than the facts that he danced as 
smoothly as a professional and talked amusingly. 
She had him looked up. Just what her sleuths un- 
covered she has not revealed, but from the moment 
she read their reports, she refused to consider Georgie 
very seriously. 

George's Alleged Marriage 

"T found out he already has a wife in existence," she 
JL confided to friends. "Of course, that puts him 
out of the running, matrimonially speaking!" 

This astonishing news burst like a bombshell upon 

22 



the contingent of feminine admirers who had 
hitherto regarded Georgie as a very eligible 
bachelor. Other rumors followed thick and fast. 
A woman who had known George Raft intimately 
for years volunteered the information that he had 
been married, for ten years, to a non-professional 
who lives in New York. There has been no 
divorce as yet, she adds, though they expect to 
procure one soon. 

More ambitious gossips, not 
content with this report,whisper 
that Georgie has a handsome 
nine-year old son by this mar- 
riage, at school somewhere in 
the East. 

That's the pro side of the 
argument. The con stand is 
taken very firmly by Mr. Raft, 
himself, who says, "Why should 
I get married when there are 
plenty of attractive girls who 
seem willing to dine and dance 
with me — just as I am? . . . I'm 




Hollywood suspects Aileen Pringle, 
left, is married to Matt Moore, but 
Aileen says "we're just pals." Lily 
Damita, above, keeps everyone guess- 
ing whether she is married to Sidney 
Smith. No one can deny they are very 
much in love 



Joan Blondell wouldn t even admit she was en- 
gaged — and then it turned out she was secretly 
married. Which makes Hollywood wonder about 
several other stars. What about George Raft — 
and Jeanette MacDonald — and Lily Damita — and 
Lina Basquette — -and Gwili Andre — and Carmelita 
Geraghty — and Aileen Pringle? 



sitting right here," he adds, meaning that he intends 
to maintain his status as a bachelor, "It's up to you 
to find out the truth!" 

To make matters still clear- 
er, he doubles up his fists (he 
used to be a boxer, too) and 
repeats, "I'm not married 
now, I never have been mar- 
ried, and I'm not going to be 
married!" 

Hollywood, however, has 
been misled so often by the 
denials of the principals in 
these matters that 
a star's word is no 
longer taken for 
gospel, where 
matters of 
divorce, marriage, 
and engagements 
are in question. 
Didn't Ruth 
Chatterton, for 
instance, deny up 
until the last 
moment that she 
was almost at the 
parting of the 





Jeanette MacDon- 
ald, above, has 
been engaged to 
Robert Ritchie for 
five years, but Hol- 
lywood's roman- 
ticists like to be- 
1 i eve sh e has 
marched to the 
altar with him. 
And what about 
Lina Basquette at 
the left? Is she the 
secret bride of 
Teddy Hayes? 



ways with Ralph Forbes? 
Wasn't the idea of George 
Brent as the other man in the 
case laughed off persistently by 
everyone concerned? 



Joan Blondell was 

secretly married to 

George Barnes anil 

fooled Hollywood completely, while 

George Raft denies he Has ever married 

anil insi-.ts he "ill remain a bachelor 



Joan Was Secretly Married 

MORE recently, didn't Joan 
Blondell maintain silence 
regarding her "engagement" to 
George Barnes, refusing to af- 
firm or deny the reports that 
they intended to many? 

It was only the other day that 
the film colony discovered that 
the couple were secretly mar- 
ried, when they appeared at 
Gold Beach, Oregon, on a 
honeymoon fishing trip. Even 
Joan's studio, Warner Brothers, 
insisted that they were in 
ignorance of the star's plans un- 
til reports of her secret wedding 
to the United Artists camera- 
man were published in the 
newspapers. 

I veryone knew, of course, 
that Joan and George had been 
going together for months — and 
that's i 1 1 sr why ;ill the other 
"engaged" couples in town are 
nl i iiucd on page 60) 



23 



Stars ^ut on a Shqw 

CM Mil 1 




Groucho and Chico Marx clown and wise-crack for the 

Olympic swimmers. That's Eleanor Holm in center. In 

the rear are Katherine Rawls, Fredric March, Georgia 

Coleman, Jo McKim and Mickey Riley 



THE only time in the history of the movies that the 
stars have stopped turning out pictures to show 
themselves to visiting celebrities — not for just a 
day, not for just a week, but for three long weeks 
— has just been recorded. This precedent-shattering 
event took place with the 1932 Olympic Games. While the 
athletes were staging the greatest record-breaking show 
of all time, the movie stars — from Douglas Fairbanks 
down — were putting on the greatest free show in Holly- 
wood history. 

Although billed as a tremendous international sport 
spectacle, competed in by more than two thousand 
bronzed, lithe young men and women, the pick of forty- 
two nations, the Tenth Olympiad, so far as Hollywood was 

24 



At left, Anita Page gets ham 
Pete Zaremba and Grant 
Didrickson, the one-gal 
spects to 



concerned, turned out to be one of the great publicity op- 
portunities of a lifetime. 

To begin with, the stars really didn't know that the 
Olympic Games were in town until they found themselves 
having their pictures taken in greater doses than ever be- 
fore. Hollywood, except for a few rare souls, revolves 
about Malibu, movie sets, parties, gossip — and the Olym- 
pics were beyond their horizon. 

Suddenly the stars discovered themselves posing with 
track pants draped lightly over either arm, with javelins 
poised ready for hurls, with arms affectionately draped 
around burly boxers; they found 
themselves, to their great amaze- 
ment and probably slight horror, By MURIEL 



©1932 Xlh Olympiad Committee 




mer-throwing lessons from 
McDougal. Above, "Babe" 
track team, pays her re- 
Janet Gaynor 



At left, Dorotby Jordan intends to vault high to stardom 
and asks Bill Miller and George Jefferson to teach her. 
Above, the husky girls of the Dutch team collect auto- 
graphs from Frances Dee, wearing the dark pyjamas 



going through the motions of acting before empty cameras 
just —all to amuse visiting celebrities. 

And when Hollywood works and actually emotes with- 
out any recompense in the background — not even a s r i . i \ 
foot of film in the camera to show for perspiring efforts — 
that's something! It was the beginning of an ordeal in the 
interests of international publicity, they discovered. 

Buster Keaton was one of the first victims. Hot and 
weary, he worked all one day before a dummy camera on a 
torrid set, performing in his frozen-faced way for the 
benefit of a half-hundred goggle-eyed visitors. I be epi- 
sodes were for Buster's latest pic- 
ture, "Speak Easily," bur what 
B A B C O C K the visitors didn't know was that 



it had been completed for a week and that Buster was just 
walking through scenes for their special benefit. In one 
sequence, he was supposed to quaff his thirst by dunking 
from a huge crockery pitcher — the kind you used to find on 
small-town hotel wash stands. And Buster did it with 
much gusto. 

Johnny Weissmuller did his bit for the athletes. Re- 
called from his favorite seat in the bleachers overlooking 
Olympic pool, he re-enacted " far/an" all over again. 
Johnny swung from trees, and burbled unintelligible mon- 
key sounds for the benefit of watchers. Now, I don't know 
whether the studio thought the Olympic visitors of tin- 
day were so simple-minded that they wouldn't know 
(Continued mi page 



25 



Lee Tracy, Fighting 

Mad, Kills a Rumor 

He s the Irishman who took Cagney's place in "Blessed Event" and made a big hit for himself. 
Then somebody started the story that he was irresponsible — because of The Cup That Cheers. 
With fire in his eye, Lee denies the charges — and advances evidence to prove his case. Here's 

a chap who can talk straight from the shoulder! 



By don Winters 



Although he has been 
in Hollywood a com- 
paratively short time, 
Lee Tracy has worked 
at three major studios 
— and has left two of 
them without sufficient 
explanation to satisfy 
Hollywood. The movie 
colony immediately 
sought the "real rea- 
son" for his "losing so 
many jobs!" It hit on 
the argument that the 
reason was The Cup 
That Cheers — to which 
Lee replies in this ex- 
clusive interview, rea- 
sonably and frankly. — 
Editor. 



I 




'D like to lay my 
hands on the fel- 
low that started 
the story that I 
liked my 'likker' in big 
dozes! Sure, I take a 
nip now and then; some- 
times I take two nips. 
Who doesn't? But I'm 
no irresponsible drunk- 
ard, and I can prove it 
—by statistics!" 

Lee Tracy is burning, 
ladies and gentlemen — burning white-hot over the rumor 
that the "real reason" why he was not placed under 
contract by Warners after his hit performance in " Blessed 
Event" was that he drank, not wisely but too well. And 
when Tracy burns, even Nero would have a hard time 
fiddling. The spectacle caused by this Irishman ablaze 
calls for no soft violin music. 

No wonder Lee is hot! Far from the producers' being 
afraid to sign him, three major studios have been fighting 
for him, with the result that he is now under contract to 
all three of them! He will make two pictures for Colum- 
bia and has now started on his second under this contract. 



26 



He will make two pic- 
tures for Radio, one of 
which will be "Phan- 
tom Fame." And he 
will make two pictures 
for Paramount, stories 
of which are yet to be 
chosen. 

There's something 
about the combination 
of the words real and 
reason that unduly ex- 
cites Hollywood. It 
never fails. Hollywood 
relishes real reasons 
and invariably gives 
them wide circulation. 
In Tracy's case, the 
gossiping reached a 
greater circulation than 
usual, even to the ex- 
tent of having one of 
the local columnists 
publicly wail, "It is a 
shame Mr. Tracy 
drinks, for if he didn't, 
he might become an 
outstanding screen 
personality." 



I 



What Made Him 
Maddest 

T was the publica- 
tion of this blurb 
that ignited Lee to vio- 
lent rebuttal. Only with 
difficulty did his friends 
restrain him from buy- 
ing a page in the columnist's paper in order that he might 
offer a thousand-dollar reward to any person proving him 
irresponsible or unreliable because of drinking. 

"I never was fired from a stage show or a movie studio 
because of drinking. At one studio they kept me sitting 
for weeks, waiting for something to do — naturally I had 
a few highballs to forget my troubles! 

"That's where my statistics would come in," he says. 

"You see, I played in 'The Show-OfF for over a year in 

New York, five hundred and seventy-one performances, to 

be exact. As the hoofer in 'Broadway,' I did a total of 

{Continued on page 76) 



Movie 
Classic 



Tabloid 



News 
Section 



♦ THE NEWSREEL OF THE NEWSSTANDS 




The happy little B' r l above is the latest platinum blonde to have 
Hollywood all in a dither. For, Buddenly appearing from no- 
where, Paulette Goddard seems to be the newest heart Interest of 
Charlie Chaplin. (See story page 29.) Anil the happy couple at 
the left are, of course, John Gilbert and Virginia Bruce f who 
became Mrs. Gilbert on August 11. John decided at 5:45 that 

he'd like to be married 1 that day, and bv 6l )0 he Wai in a i ere- 

monv at the studio 

27 



♦ MOVIE CLASSIC TABLOID NEWS SECTION 



Harry Bannister Denies He*s 
Engaged/' But Girl Doesn't 



// 



Actor, who objected to being Mr. Ann Harding/' says there will not be a "Mrs. 
Harry Bannister right away — but 18-year-old Nancy Lyon keeps 

Hollywood guessing 



By JANET BURDEN 

WHEN Harry Bannis- 
ter was divorced 
from his wife, it was offered 
as an excuse that he ob- 
jected to being known as 
"Mr. Ann Harding." Now, 
only a few months later, it 
looks very much as though 
there might soon be a "Mrs. 
Harry Bannister." 

When Harry left recently 
for England to act on the 
London stage, there were 
three ladies at the airport to 
say goodbye to him. One 
was Ann Harding; one was 
Jane, their small daughter; 
and the third was an attrac- 
tive eighteen-year-old girl 
named Nancy Lyon, who 
arrived in Harry's car with 
him, only to flee at the sight 
of waiting photographers. 

"I congratulate you on 
your engagement!" Ann was 
reported to have said to 
Harry. 

"Miss Lyon is a lovely girl, but I 
am much older. I'm not engaged to 
be married," Harry told the reporters 
nervously. 

"I wouldn't say we are engaged," 
giggled Nancy, "and I wouldn't 
deny it, either. We are very, very 
good friends." 

Nancy is the daughter of State 
Senator Lyon of California, and she 
is a beginner in pictures. Recently 
she signed a contract with Samuel 
Goldwyn to play in "The Kid From 
Spain" with Eddie Cantor, whose 
daughters are Nancy's school friends. 
She is a blonde. 

"It's a press stunt," declares a 
close friend of Harry Bannister, 
huffily. "Sure, Harry knows Nancy, 
but there's nothing serious about 
their friendship. He took her to 
lunch at the Brown Derby once, 
which seems to be equivalent to an- 
nouncing one's engagement in Holly- 





When Harry Bannister left for 

London, Nancy Lyon said: "I 

wouldn't say we are engaged — 

and I wouldn't deny it" 



wood. Nancy has 
got a lot of news- 
paper space refusing 
to deny the engage- 
ment, hasn't she ? 
And 'The Kid From 
Spain' has 
always been 
mentioned too, 
hasn't it? 

"And what 
can Harry do 
when a pretty 
lady won't 
deny that she's 
engaged to 
him except 



If Harry Bannister 
plans to marry again, 
Ann Harding probably is aware of it. 
They still are very close friends 



smile and let it ride — except when 
reporters get too insistent? But take 
it from me, it has all the earmarks of 
a press-agent stunt! They say the 
engagement can't be announced till 
his divorce is final. Say — Harry 
Bannister could marry legally to- 
morrow if he liked. A Reno divorce 
is final as soon as it's given." 

On the other hand, Malibu resi- 
dents say that Nancy Lyon and her 
parents were Harry's guests at several 
jolly week-end house parties just be- 
fore he left for Europe, and point out 
that she and her mother 
occupied his beach cottage 
after his departure. 

"Pooh!" says Harry's 
close friend, "I was with 
Harry, myself, the day be- 
fore he flew East, and 
heard him call up Ann and 
offer her the cottage for the 
rest of the lease if she 
wanted it. He had had his 
little daughter, Jane, visit- 
ing him for two weeks and 
Jane was crazy about the 
beach. But evidently Ann 
refused, so he gave it to 
the Lyons. The lease had 
only a month to run any- 
how." 

There are only two people 
who know if Harry Bannis- 
ter has chosen a compara- 
tively unknown girl to be 
Mrs. Harry 
Bannister. Or, 
rather, there are 
three people. For 
Hollywood is 
willing to wager 
that Harry 
wouldn't dream 
of taking that 
step or any 
other important 
step without 
consulting Ann 
Harding! 



28 



♦ THE NEWSREEL OF THE NEWSSTANDS ♦ 



"Mysterious" Blonde 

Enters Chaplin's Life, 

And It Looks Like 

Real Romance 

Paulette Goddard, Newcomer To Films, Wins Interest Of 

Famous Comedian And "Discoverer" Of Beauties — 

Affair Has Reached Stage Of Marriage Rumors 

BY EVELYN DERR 



MRS. CUPID'S little boy, Dan, 
has again caught up with 
Charlie Chaplin, after pursuing the 
famous comedian all the way around 
the world. For Charlie has been 
appearing in public and at private 
dinner parties with a dazzling, wil- 
lowy platinum blonde, a bit taller 
than he. And to make things more 
exciting, she is somewhat of a mys- 
tery. It is no mystery, though, that 
Charlie is quite stricken, if ardent 
glances and whispered words and 
tender handclasps 
mean anything. 
Those ol' marriage 
rumors have even 
popped up again. 

The name of Char- 
lie's Latest Lady 
Friend is Paulette 
(ioddard and she is 
playing at the mo- 
ment in "The Kid 
from Spain" with 
Kddie Cantor. But 
though all the other 
beauties of the pic- 
ture have photo- 
graphs and biogra- 
phies which the pub- 
licity depart- 
ment is more 
than delimited 
to hand out. 
Paulette ap- 
pears t o b e 
shrouded in 
in y s t e r \ . 

"We're told nor to publicize her," it 
is politely hinted. 

She is said to be twenty-one years 
old. Previous to the Goldwyn pic- 





»*^ 



From all appearances, the famous comedian has 
been bowled over by his "discovery" of Paulette 
Goddard, new platinum blonde 



ture, Paulette 
worked for Hal 
R o a c h , the 
comedy pro- 
ducer. There is 
a rumor that she 
w as formerly mar- 
ried . thai she 
came to I lolK - 
w oo d d i re c 1 1 y 
from Reno, and 
that the glittering imported Hispano- 

Sui/.a sbe drives was given to her by 

her former husband. Sbc is said to be 
"socially prominent" and is also said 






Charlie Chaplin doesn't 
object to having his pic- 
ture taken at an opening — 
not with Paulette Goddard 

to be a New York show- 
girl, presumably — with 
her figure — in Ziegfeld 
shows. However that 
may be, she wears a pearl 
necklace with a diamond 
clasp to work, and ap- 
pears at the studio in 
lounging pajamas trim- 
med with blue fox. Her 
platinum blonde hair is 
worn in a tightly-curled 
coiffure designed by An- 
toine of Paris. Charlie, it 
is said, drives to the studio 
almost daily to see her. 
A Hollywood con- 
noisseur, who requested 
anonymity for the sake 
of diplomacy, ventured 
this opinion about Pau- 
lette to the writer: "She 
is the most extravagantly-gowned, 
luxurious-looking girl in Hollywood. 
Sbc lias poise and charm, winch so 
main Hollywood beauties haven't." 

Recently it was reported bj the t.i\ 
assessor that Chaplin, the London 
slum boy, was the wealthiest <>t 

motion picture stars, having more 

than seven million dollars' worth ol 

taxable securities sineh enough to 
support a wife. His tifry-room house 

in Beverly Hills is a lonely spot for 
the small gray-haired comedian, who 
seldom emerges into Hollywood soci- 
ety. I )oes marriage tempt him again : 



2<) 



♦ MOVIE CLASSIC TABLOID NEWS SECTION ♦ 

Ann Dvorak And Husband "Run 
Away" From Hollywood— Why? 

Leslie Fenton, Who Has Interrupted His Career Several Times To See Far 
Places, Suddenly Takes Bride Abroad — Ann Wanted More Salary 




The first intima- 
tion the studio had 
that she had "run 
away" from Holly- 
wood was a radio- 
gram sent from the 
S.S. Virginia. "I'm 
off to New York, 
and then to Europe. 
Goodbye," it said 
in effect. 

The rumor was 
broadcast in head- 
lines that she had 
staged a walkout 
for more salary. It 
was reported that 
she was receiving 
$250 a week, under 
contract to Howard 
Hughes, while he 
was receiving $1000 



Acme 



Leslie Fenton and Ann Dvorak, who 
didn't have time for a honeymoon when 
thev married last February, pay a surprise 
visit to England— Ann gaily interrupting 
her sensational career 



By Dorothy donnell 

GARBO once threatened to go to 
Europe and interrupt her career 
unless studio executives agreed to 
the salary she asked — but Ann 
Dvorak, without any advance notice, 
did "run away" to Europe — with her 
husband, Leslie Fenton. Now Holly- 
wood is trying to figure out why. 

The feminine lead in Ronald Col- 
man's new picture, "Cynara" — co- 
veted by every actress in Hollywood 
—had just been given to her. Other 
big pictures awaited her. Her moth- 
er's fear at the time of her surprise 
wedding to Leslie Fenton, several 
years older than Ann, that the mar- 
riage might hurt her career seemed 
baseless. Ann seemed deliriously 
happy. 




Fryer 



a week from Warners for her services 
— and she thought she deserved a 
raise. She allowed this impression to 
stand on being interviewed in New 
York just before she and Leslie 
boarded the Olympic for England to 
visit his parents. 



At the time of her wedding, Ann 
gaily said, "My career is important, 
but there are other things in life! 
I want to go places — see things, 
travel!" And now Hollywood says 
"It's Leslie's doings. He has aban- 
doned a promising career in the 
movies half a dozen times to travel 
to far places of the earth." 

From Europe presently came mes- 
sages from the runaway — unrepentant 
messages. In reply to urgent wires 
begging her to come back and save 
her career, Ann was reported to have 
cabled, laconically, "How many more 
options are they offering now?" A 
British picture concern sought her 
services for one picture. "And I can 
make it without any trouble with my 
own studio," Ann is reported as 
writing gleefully, "because Leslie is 
a British subject, so that makes me 
legally British, too." 

If Hollywood's surmises are 
correct that Leslie Fenton 's ad- 
vice lay behind Ann's runaway 
trip to Europe (even her mother 
did not know that she had gone 
until Ann was far at sea), what 
was his object? Did he believe 
that by such bold methods he 
could elevate his lovely wife into 
immediate stardom, or did his 
love for her tremble at the rapid 
fame that threatened to come 
between them ? 

At an opening recently, Ann 
Dvorak turned away from the 
microphone saying, "Ladies and 
gentlemen, I want to introduce to 
you, my husband, Leslie Fenton." 
Into the microphone Leslie spoke 
strange, sullen-sounding words, "I 
don't know why I'm here, or why 
Ann is here," he said in effect. 
"The credit for her performance 
in this picture should go to the 
director. You out there may 
know what this is all about — we 
don't." 

Figure it out for yourself. 
Meanwhile, Hollywood is expecting 
Warners to buy Ann's contract from 
Howard Hughes — if they have not 
done so already. 



30 



♦ THE NEWSREEL OF THE NEWSSTANDS ♦ 



After Buster Keaton 
Gives Y\cht To Wife, 
She Seeks Divorce 

Comedian intended costly boat to be "Peace Offer- 
ing" to Natalie Talmadge, who, it seems, fears 
water — first cruise brings climax to couple's strained 

relations 

By Jerry bannon 



NATALIE TAL- 
MADGE, all these 
years, has let her sisters, 
Norma and Constance, have 
the headlines — but when 
she "rose up in her wrath," 
she proved capable of land- 
ing on the front pages, too. 
Newspaper editors weren't 
a bit more surprised, how- 
ever, when she sued Buster 
Keaton for divorce, than 
Buster was, himself. 

Several months ago, when 
Buster "kidnaped" their 
two sons (Joseph, 9, and 
Robert, 8) and took them 
on an airplane ride that she 
had expressly forbidden, 
she threatened drastic ac- 
tion. But Buster was suc- 
cessful, then, in "kidding 
away" her impulsive plans 
for separation or divorce. 
Laughing, herself, at the 
pictures of Buster and the 
boys waiting gloomily "for 
Mama to come home" and 
at "the whale oil lamp in 
the window to guide Mama 
home," Natalie said she 
supposed she would always "forgive" 
Buster for the "foolish" things he did. 

Natalie's dread of the air led to 
their first break; another of Natalie's 
dreads cropped up to make the final 
crisis, say friends. She is even more 
afraid of the water than of the air — 
and Buster gave her a yacht. 

Buster, who holds a certificate as 
a first-class marine engineer, has a 
passion for boats. He heard of a 
grand ninety-eight-foot yacht, which 
would comfortably accomodate twen- 
ty guests, as well as crew, going for a 
great bargain at Seattle. Without 
consulting his wife, he bought it (for 
#100,000, it is said) but — to con- 
ciliate Natalie — he named it The 





Sisterly devotion: Constance Tal- 
tnadge Netcher (left) helped her 
sister, Natalie, get her divorce 

planes in her greater terror 
of boats, and took her first 
air trip — flying home with 
her mother. Buster again 
tried to smooth over the 
trouble with humor. But 
Natalie, this time, went to 
court — and asked for divorce, 
on the grounds of mental 
crueltv. Her sister, Con- 



Buster Keaton again tried to head off di- 
vorce by kidding. He said, "I don't mind 
losing the yacht, but I left my old ukulele on 
board, and I'd sort of like that" 



Natalie and made the 
title of it over to her 
as a "surprise" gift. 

Was Natalie pleased 
with this husbandly 
munificence? It took 
considerable per- 
suasion from friends 
to get her to meet 
Buster and the boat 
at San Francisco. Slightly appeased 
by the beauty of The Natalie, she 
consented, however, to the collection 
of a party of friends and a cruise to 
Catalina Island. There the weather 
was so rough, both nautiiallv ami 
domestically speaking, that Natalie 
apparently forgot her terror of air- 




Tbis is the yacht that Buster Keaton g a\ e 

to bis wife, after re-christening it The 

Natalie. It was sold a few days later 

stance 'I 'almadge Netcher, verified 
her testimony. And the fourteen- 
year-old marital voyage oi the Kea- 

tons was all over. Because, say their 
friends, Buster gave Natalie a boat 
— whin she was afraid of wal 



31 



♦ MOVIE CLASSIC TABLOID NEWS SECTION ♦ 



Lina Basquette's "Love" 
For Jack Dempsey Wanes 
After Trip To Hospital 



F 



Actress, Who Had Supposedly Written 
Champ And Then Swallowed "Poison, 
fering From Onion Soup And Milk — 
Teddy Hayes, To Whom She Is Rumored 



arewell Note To Ex- 
Is Found To Be Suf- 
Then Makes Up With 
Secretly Married 





TINA BASQUETTE landed in the 
!__, headlines again with a bang 
when the newspapers had it that she 
swallowed "twenty-four tablets of 
poison' ' 
recently. 
Only the 
doctor at 
the re- 
ceiving 
ho spital 
where Lina 
was speed- 
ed in an 
ambulance 
said that 
the "poi- 
son" was 
just a bowl 
of soup 
together with a glass of milk ! 

Apparently the whole affair 
is a complete mystery to Teddy 
Hayes (her fiance, though some 
reports have it that she is 
already married to him) and 
Jack Dempsey, rumored to be 
the cause of it all. Before the 
brunette dancer did whatever 
she did, she allegedly left a note 
to Dempsey, protesting that 
she "could not go on" without 
him. 

The Lina Basquette-Teddy 
Haves-Jack Dempsey triangle 
has been intriguing Hollywood 
for some time. When 
her manager (Hayes) 
on the Coast several 
ago, they were said 
engaged. Then 
came the sensation- 
al Hayes announce- 
ment that Jack 
Dempsey (whose 
trainer Hayes used 
to be) had "stolen" 
his girl from him. 



n 



For two months Jack and Lina 
were seen together constantly, and 
had even essayed a personal appear- 
ance together. Then she "fainted" 
in the middle of their 
dancing act in an Oak- 
land theatre. It was 
supposed that she and 
Jack had been quar- 
reling before the faint. 
A ' w e e k 
^ passed, and 

^^*" one after- 
""* noon she 

appeared on 
the Par- 
amount lot with Ted- 
dy Hayes, who was 
working in "Madison 
Square Garden," and 
told friends, "Teddy 
and I have patched 
everything up. We 
are engaged again." 

That night, it 
seems, Lina and Ted- 
dy made the round of 
night-clubs. Teddy 
afterward intimated 
that Lina had been 



lollvwood 

Lma and f «4fe dflfe? 

) arrived 

Lina Basquette had supposedly written a "farewell note" to 

Jack Dempsey, and then swallowed "poison." But doctors 

found she had eaten onion soup and milk ! 



Has Lina been secretly 
wed to Teddy Hayes 
(above)? It's a rumor 

very blue because she believed her 
romance with Jack was at a finish. 
Teddy took Lina home, and a half- 
hour later called up to see how she 
was feeling. She told him she had 
taken poison. However, when the 
ambulance arrived, she protested 
this allegation and was ordering the 
emergency doctors out of the house 
when she "suddenly fell in a faint." 
From there on no one seems quite 
clear about what actuallv happened. 

"Well, well, what shall I tell 
folks?" cried a young reporter for a 
local paper, pushing into the Georgia 
Street Receiving Hospital, where they 
had taken Lina from her apartment. 

"Tell them I must have been 
crazy," murmured Lina, looking wan 
and distraught and beautiful. If, as 
claimed, she had taken twenty-four 
poison tablets, she would have been 
dying — but the young reporter could 
have sworn that she was enjoying 
herself. And a little later the doctor 
reported that to the best of his 
knowledge all that Lina had eaten 
was onion soup and milk. 

"My mind is a blank as to what 
happened," Lina said, leaving the 
hospital. "Anyhow, I shall probably 
never dance again — unless I am 
hungry. And that isn't likely, be- 
cause Teddy and I are going to get 
married." 

If they do marry, Hollywood be- 
lieves that it will be the second wed- 
ding for the pair, since a couple 
named "Lena Copeland Baskett" 
and "Theodore T. Hayes" were mar- 
ried in Newark, New Jersey, last 
October. 

"It couldn't have been us," Lina 
smiles, "I was conscious every mo- 
ment I was East last fall. It was 
just two other people with the same 
names!" 

Meanwhile, Hollywood is trying to 
decide whether the "triangle" has 
been real drama or a publicity stunt! 

BY MADGE TENNANT 



♦ THE NEWSREEL OF THE NEWSSTANDS ♦ 



Johnny Weissmuller And Wife 
Part— Hollywood Puzzled 



Bobbe Arnst, who gave up dancing career for Johnny, fights game, 
but losing battle to hold his love — Movie City in the dark about 

cause of sudden rift 

By Doris Jan e way 



THE game battle that Bobbe 
Arnst has put up for almost a 
year to hold the affections of Johnny 
(Tar z an) Weissmuller seems to be 
at an end, and the plucky little 
dancer from Broadway is facing 
defeat ! 

Did Hollywood "get" Johnny, in 
spite of all Bobbe could do to keep 
him level-headed and sane in the face 
of his tremendous success in his first 
picture, "Tarzan"? Or are the in- 
sistent rumors of "another woman" 
the cause of the rift between them 
that followed immediately upon 
the heels of Johnny's return to 
Hollywood from a per- 
sonal appearance tour 
in the East? 

Almost in the face of 
the disaster of her mar- 
riage, Mrs. Johnny 
Weissmuller denied the 
newspaper hints of 
"trouble." With al- 
most pathetic eagerness 
she exhibited telegrams 
and letters she had re- 
ceived from her hus- 
band, messages of love 
and affection that had 
come to her within as 
short a time as l:co 
days before his return 
to Hollywood. One of 
them was: "Am flying 
back to you. I love 
you." 

Upon the receipt of a 
particularly affection- 
ate message which she 
i (Hived practically on 
the eve of Johnny's ar- 
rival, Bobbe Arnst had 
sailed into the studio 
publicity department, 
happily exhibiting the 
telegram for one and 
all to see. 

"Can't we get this 



printed?" she 
begged, 
"Maybe it 
will help stop 
some of those 
dreadful di- 
vorce rumors 
about us. 
Surely, if the 








White 
Johnny Weiss- 
muller, away on 

tour, \v i r e d 
Boh lit- Arnst. 
liis il.uu-iT-w ifc: 
"I am flying Hack 
to you. I love 
you" — anil three 
weeks later, he 
l>.ul moved from 
their apartment 





Hlirrrfl 

Johnny seemed happily 

married until Hollyyvood 

happened to him 

public could see this wonderful mes- 
sage from Johnny it would be clear 
how foolish are these attempts on the 
part of Hollywood gossip to separate 
us!" 

In view of Bobbe's high-hearted 
stand, the gossip of divorce (imme- 
diately following Weissmuller's return 
to Hollywood) was puzzling, as well as 
pathetic. For the first few days 
Bobbe tried to laugh off his absence 
from their home by explaining that 
Johnny was "busv seeing 
his pals, the Olympic swim- 
mers." One day they did 
appear at Johnny's studio 
together and it seemed to 
the onlookers that Bobbe 
Arnst almost eagerly kept 
her husband's hand in hers 
and slipped her tiny arm 
about his waist as they 
walked about the lot saying" Hello. " 
Then came the report that Johnin 
had moved to the Athletic Club, and 
the gossip that he had asked Bobbe 
to get a divorce from him! She was 
quoted as saying she could not under- 
stand his change of heart. One minute 
Johnny was so definitely hers . . . and 
the next he was asking for a divorce. 
I [ollywood, in attempting to ferret 
out the baffling mystery, has remem- 
bered that Weissmuller saw a great 
deal of Lupe Velez while in the East, 
Rut Lupe denies she might be the 
cause: "Johnny and Lupe are good 

friends. That is all. " 

Maybe old Hollywood must tak< 

the blame in breaking up this twentv- 

month-old marriage bj too suddenly 
bestowing her favors upon Johnnj 

for whom Bobbe gave up her dancing 

career " because he net tied her." 



53 



♦ MOVIE CLASSIC TABLOID NEWS SECTION ♦ 



Ziegfeld Reported "Broke 
At Time Of Sudden Death 

Hollywood Sees Sad Irony In Statement That The Great Showman And Discoverer 
Of Many Screen Stars Died Comparatively Poor — Billie Burke, His Widow, May 

Carry Out Plans He Had Made 



// 



BY JOAN 
STANDISH 

FLORENZ 
ZIEGFELD, 
the man who 
launched the 
careers of the 
fabulously 
wealthy Will 
Rogers and 
Marion Davies, 
and who started 
many famous 
beauties, in- 
cluding Billie 
Dove, Lilyan 
Tashman, Ina 
Claire , Vir- 
ginia Bruce and 
others on their way to 
fame and fortune in his 
productions, died practi- 
cally "broke", according 
to close associates. 

The famed "glorifier 
of the American girl" 
had gone to California 
to convalesce from a siege of pneu- 
monia and pleurisy, and to be 
near Billie Burke, his famous 
actress-wife, who was entering 
the talkies in "A Bill of 
Divorcement," co-star- 
ring with John Barrymore. 
A relapse, followed by a 
heart attack, brought the 
sudden end. The film 
colony was plunged into sin- 
ceregrief for Billie Burke and 
their fifteen-year-old daugh- 
ter, Patricia. But the real pity 
went to the memory of the 
great showman, who ended his 
days within the shadow of finan- 
cial worry. 

Ziegfeld made — and spent — mil- 
lions in the days of his glory. He 
paid to the stars and entertainers of 
his shows the greatest salaries ever 
known on Broadway. Money, appar- 
ently, meant nothing to him. He 
knew little of the creed of saving 

34 




When Florenz Ziegfeld (right) 
died, the show still had to go on. 
His widow, Billie Burke, had to 
complete "A Bill of Divorce- 
ment," in which she co-stars with 
John Barrymore. She is being 
urged to carry on the business in- 
terests of her late great husband 



against the rainy day. His extrava- 
gances were a source of gasping sur- 
prise to the rest of the world — and a 
fount of humorous anecdotes to 
Ziegfeld. 



He enjoyed the reputation of send- 
ing the longest and costliest telegrams 
in history. Once, from London he 
sent a cablegram to New York that 
cost fifteen hundred dollars. It is 
said that "Ziggy" never owned a suit 
of clothes for which he paid less than 
two hundred dollars. During a vaca- 
tion in Monte Carlo, he once re- 
putedly placed a quarter-of-a-million- 
dollar bet 
against one 
turn of the 
wheel — and 
lost. Until the 
last two or 
three years of 
his life he made 
his frequent 
transconti- 
nental trips in 
his private car, 
surrounded by 
a retinue of ser- 
vants, includ- 
ing a personal 
chef. 

His shows, 

such as the 

long series of 

"Follies," 

"Show Boat," 

"Rio Rita," 

"Rosalie" and 

"Whoopee" 

were the most lavishly mounted and 

produced Broadway has ever known. 

In any other man, Ziegfeld's free 

hand with money would have seemed 

a vulgar display, but with "Ziggy" 

it merely amounted to showmanship. 

It drew people into his theatres. 

Is "the glory that was Ziegfeld" 
vanished forever? Business associates 
of the late producer are urging his 
widow to "carry on" in his stead. 
It is possible that she will. Already 
she has learned that "the show must 
go on." The picture on which she 
was working when he suddenly passed 
away, and on which a fortune had 
already been spent, had to be fin- 
ished before she could sadly accom- 
pany her husband's body East. 




Clara Bow 

The most famous of all the red- 
heads has a new twinkle in those 
big brown eyes — one of deter- 
mination, rather than playfulness. 
Missing from the screen for more 
than a year, she is coming back 
now to do some emotional act- 
ing, not to play a happy-go-lucky 
flapper. She still has her long 
bob, but she has some new 
"bangs." And while she is sti 
the same Clara, she will revea 
new talents in "Call Her Sav- 
age" — or her name isn't Mrs. 
Rex Bell. Clara, by the way, 
has an ambition to direct her 
husband in pictures! 

Caraev 




It's downright disillusioning, that's what it is. Here we've always 
thought that everything about Clive was English — but that dog 
is no English bull! Clive says he has been away from England so 
long he has forgotten what one looks like. And he's going to be 
away longer. He has just signed a new contract and acquired 
a new home. Look for him in "Cavalcade" and "Sherlock Holmes" 



CLIVE BROOK 



36 







MARIAN NIXON 



Marian seems to have gone to grass — but it's nix on all rumors 
about her becoming a grass widow. As Mrs. Edward Hillman, 
Jr., she does not need to work — but Eddie thoroughly approves 
of her return to the screen. And her success in her return makes 
the two of them as happy as the wire-haired terrier in Marian's 
arms. She goes modern with a vim in "Madison Square Garden" 



37 



The Lady Whos 

Known As Loy 
Again Casts The Mystic 
Spell Of The East 




Hurrell 



38 



Myrna Loy, the screen's most exotic beauty, has a role ideally suited for her in "Thirteen Women," 
adapted from Tiffany Thayer's popular novel. Playing a Javanese half-caste she wields a sinister in- 
fluence. That this girl from Montana is coming into her own is proved by the constant demand for 
her services. She no sooner completed "New Morals For Old" than she was rushed into the Chevalier 
picture, "Love Me Tonight." Her study of the Javanese takes you to far-off places — and you say to 
yourself, "I'm going East of Suez by the quickest boot." Just that old spell of the Loy coming over 

you again 



A Cheerful 
Little 
Chairful 



Although you'll see 
her soon in the serial, 
"Jungle Mystery," Ce- 
celia Parker, golden 
haired beauty, reveals 
here, with the help of 
the arm chairs and her 
black lace undie, that 
there's no mystery about 
the fact that she is one 
of the screen's shape- 
iest debs. Cissy, as her 
friends occasionally call 
her, seems to go in for 
pictures with mystery 
titles. She was also the 
heroine in George 
O'Brien's "Mystery 
Ranch" 




39 



THE DADDY OF THE BENNETTS 

Here's where Connie and Joan get that knack for 
catching the spotlight — from their vivid father, 
Richard. He attracts spotlights, whether he is act- 
ing or not. He has forgotten more about acting 
than most actors will ever learn — which is why he 
steals so many pictures. Watch for him in "All the 
Evidence" and "The Lusitania Secret" 




Why Robert Montgomery 

Wants To Go Back To The 



Stage 



By Mary Whiting 



ROBERT MONTGOMERY is reading stage plays 
these days. Reveling in them. Casting him- 
self in the heroes' parts. There is a hungry 
Oook in his blue eyes when he speaks of the 
theatre, the look of an exile homesick for his native land. 
He says: 

"1 want to go back to the stage — part of the time. I'm 
going back, if they'll let me, for six months every year. 
I've got plans — you'll see. 

"But in Hollywood they don't understand anyone's 
wanting to do something out of the ordinary. They'll 
think I'm trying to jack up my salary. Like Brian 
Aherne, who played Robert Brozvning with Katharine 
Cornell in 'The Barretts of Wimpole Street.' Almost 
every producer tried to sign him. Brian couldn't make 
them understand he didn't want to act in the movies. 'It's 
very kind of you,' he told them, 'hut, you see, I feel I 
belong on the stage.' And they said. 'Well, well, then if 
that isn't enough, how much zvill you sign for?' And 
when he told them it wasn't a question of salary at all, 
they named a still higher figure. Finally, they stared at 
him aghast. 'But, my hoy,' they protested, 'even the 



Maybe you haven't even suspected it, but 
Bob has long had a suppressed desire to 
go back to Broadway — part of the time. 
And he's heading that way as soon as he 
can get there. The movies don't give him 
something that the stage does, and Bob is 
homesick for that certain something! 



most successful stage players never make much money. 
Look at Miss Cornell she has to manage herself I ' 

"When I try to arrange my picture contract so that I 
can play on the stage half the time, the Front Office 
will either say, 'He wants more money' or 'He's crazy.' 
And Hollywood will say, 'Aha, Bob Montgomery is 
slipping. His box office must be falling off.' But I 
don't care what they say or think. / know myself. Stage 
salaries would seem pretty thin after movie checks, but 
I'd find a backer and put on my own show and take a 
percentage of the receipts, and be happy. 

Can't Wait Till He's Wealthy 

HF studios should encourage their players to go 
back to the theatre. Most of Broadway is in the 
{Continued on page 70) 

41 



T 



t, 



The "Love Divorce" 

of the CHEVALIERS 

When Maurice Chevalier asked Yvonne Vallee for his freedom, it was unex- 
pected. But when the couple lived together while waiting for the decree, and 
vowed they loved no one else — well, what do you make of that, Watson? 
Hollywood, wrinkling a perplexed brow, is still trying to figure out who or what 

caused the break! 



By Dorothy Calhoun 



H 



OLLYWOOD is being treated to a divorce 
done in the French manner, a divorce tout & fait 
Parisien (Completely Parisian), as Maurice 

Che- 



valier would put 
it. Who but the 
French could 
chant such a 
debonair duet as 
this? — recalling 
the time, five 
years ago, when 
Maurice and his 
wife did a 
brother-and- 
sister act on the 
stage: 

Maurice : 
"Yvonne and I 
wish to be 
friends, but if 
we were married 
another two 
years we would 
be enemies — " 

Yvonne: "Our 
love could not 
last under mar- 
riage ties, yet 
divorce does not 
mean complete 
separation — " 

Chorus: "Why 
shouldn't we 
live together 
while we're 
waiting for the 
divorce?" 

One fancies 
them finishing 
with a trium- 
phant twirl, and 
racing to the wings 
hat at the audience. 

Even the romance necessary to the musical comedy 
atmosphere of the divorce was supplied when Mis- 
tinguette, the famous French dancer, who first "dis- 
covered" Chevalier and once was infatuated with him, 
came forward to intercede with Maurice on behalf of 

42 




Yvonne Vallee and Maurice Chevalier fell in love soon after the War — 
and they claim that they're still in love with each other, and that divorce 
will help them stay that way. Hollywood believes that Maurice's chang- 
ing to American ways, while Yvonne remained Parisian, led to the break 



with Maurice waving his straw 



the woman who followed her in his affections ! (Cue for 
pink spotlight and spotlight and throbbing violins). 
And the wife who was being sued for divorce on grounds 

of "incompatibility," 
added the pathos the 
French adore by seeing 
that Maurice's "dream 
cottage" on the Riviera 
was in readiness for him, 
engaging servants and 
making sure that every- 
thing was planned for 
his comfort. 

"He is my ideal," she 
declared, sentimentally. 
"My one thought is for 
his happiness!" 

Oo-la-la! And again, 
Mon Dieu! To the sug- 
gestion that Marlene 
Dietrich, with whom 
Chevalier has been carry- 
ing on an ardent friend- 
ship, is the Other Lady 
of the piece, all three of 
them raised cries of pro- 
test, accompanied (one 
felt sure) by shrugs, out- 
flung hands and lifted 
shoulders. 

"Loves No One Else" 

MAURICE loves 
only one person — 
me!" declared Yvonne 
Valine Chevalier angrily. 
"I do not love anyone 
else and have no matri- 
monial plans, " said 
Maurice. "All the world 
knows Marlene and I are 
the best of friends," he ad- 
mitted, "but there is no thought of marriage between us." 
"I admire him. I like him immensely," Marlene is 
quoted as saying to a studio friend, "but he does not 
appeal to me romantically at all. That could never be!" 
Incidentally, after the Chevaliers are divorced, there 
still remains Rudolph Sieber, Marlene's husband. Then, 
too, what would Josef von Sternberg have to say about 




Richee 

Maurice 
Chevalier: 
"Marlene 
and I are 
the hest of 
friends, but 
there is no 
thought of 
marriage be- 
tween us" 



One thing is certain: the 
Chevalier divorce was not pre- 
meditated. Charles Boyer, who 
crossed the continent and ocean 
with Maurice on his recent 
trip, did not guess it. Cheva- 
lier's final statements to the 
American press were promises 
to bring his wife back with 
him in the Fall "to remain 
permanently," instead of mak- 
ing hurried trips from Paris 
to Hollywood, as she had this 
last year. And certainly Para- 
mount executives had no ink- 
ling of such a thing, or they 
would have "broken" the story 
more in accord with the preju- 
dices of Main Street. As it 
was, they must have read with 
cold horror of the happy as- 
sertion of the about-to-be di- 
vorced wife of their greatest 
star: "Whether we are di- 
vorced or not, it will all be 
the same. We are getting 
divorced only to keep our old 
friendship." Would Americans 
understand such a viewpoint? 
"They're French," mumbles 
executives, mopping streaming 
brows and laughing hollowly. 
"People look at 
things differ- 
ently over there 
— ha ha ha 



losing his star? It was Hollywood whispers a quarrel 
between the German girl and her director that led her 
to seek Chevalier's companionship at the studio in the 
first place. 



• <^-|— . 



Marlene Dietrich: "I like him immensely, 

but he does not appeal to me romantically 

at all. That could never be!" 



Vowed Eternal Love 
OUJOURS L'Amour," wrote Yvonne on the 

snapshots of herself in a hospital bed, mailed to 

{Co nli nurd on pa^r 5<X) 

43 



f 



I 



BlNG CROSBY Broadcasts 



the Date of His Su 



rrenaer 



d 



He may be a big radio and movie name today, but Mrs. Crosby's little boy, 
Bing, isn't kidding himself. He gives himself just two more years of fame as 
The Voice With the Love Call. And what is he going to do then? Girls, you'd 

be surprised! 



H 



AVE you ever 
stopped to 
think what a 
chap like Bing 
Crosby plans to do with 
his life when he's no 
longer busy crooning 
croons? Possibly a night- 
club, for a little while — 
for as long as the hang- 
over of his fame will keep 
the doors open? Personal 
appearances in neighbor- 
hood theatres in the 
same towns where he 
used to play the "first- 
run" houses? An oc- 
casional talking screen 
short? Or maybe (if 
these lilting lovers keep 
on coming in bunches) 
they'll erect an Old 
Crooners' Home where 
they'll just surrender, 
dear? 

It must have been 
something of a strain on 
Bing Crosby, crooner 
de luxe, to talk to me 
about the time when he 
won't be the Maidens' 
Rave. The Voice With 
The Love Call has never 
soared higher than at 
the present moment. It 
is said that his financial 
octave has extended 
(counting vaudeville, 
motion pictures and the 
radio) to the high G's — 
something like $10,000 
weekly. Thirty-five hun- 
dred of that has been 
coming from the Para- 
mount organization for 
his presence and his 
voice, of course, in "The 
Big Broadcast." And 
when you're sitting that 

44 



By Nancy pryor 




Above: Bing 
sings, with ges- 
tures, "I Sur- 
render, Dear" 
— which, by the 
way, is just a 
song to Bing, 
not a philoso- 
phy 



Above: 
Bing 
paints a 
vocal 
picture of 
"When the 
blue of the 
night 
meets the 
gold of the 
day" 



Left: in the 
manner of Al 
Jolson pleading 
for his M-M- 
Mammy, Bing 
begs "Just One 
More Chance" 
for "The Big 
Broadcast" 



pretty, it must be a 
strain on any crooner 
to stop and try to think 
of what he may want to 
do when the sitting is 
less comfortable. 

"Years and years from 
now," I said to Bing, 
"when there's not even 
One More Chance, what 
are you planning to do 
with the rest of a 
Crooner's life?" 

He said: "What do 
you mean 'years and 
years'? There's not that 
much time. You know 
what I think? I think 
Bing Crosby has about 
two more years — two 
good years to make hay 
while the sun shines — 
and then. ..." 

Not Being Super Modest 

HE didn't say it cyni- 
cally. He just said 
it. As a simple, undeni- 
able fact — just like that. 
Just as he might have 
said: 'In six months I'm 
going to Europe' or 
'In a couple of hours I 
will be eating my din- 
ner.' Instead, he said: 
"In two years I'll be 
through." In someone 
else this might have 
passed for that affliction 
so well known to inter- 
viewers who have been 
exposed to "publicity 
modesty." But with 
Bing it rang true. It was 
merely the observation 
of a good business man 
who is looking ahead and 
counting the remaining 
(Continued on page 62) 



I 







GLORIA 
STUART 

It isn't often that studios fight over. 

a girl to sign her, but when she comes 

endowed with histrionic training (yeah, 

she studied to become an actress) and 

with a social background, to boot, to 

say nothing of youth and beauty, well, 

the studiobigwigs simplysurrendered. 

And so will you when you see Gloria 

in "Back Street.'' She did so 

well by that one, that they 

gave her "Air Mail" 

to carry home 




There isn't much that gets past those shrewd eyes. And take it 
from us, it's no accident that Jack's popularity, year after year, 
doesn't fade a bit. He deliberately set out to be "a man's actor" 
— a chap who went in for action, more than emotion. Love creeps 
in, movies being what they are, but action is the thing with Jack. 
Having finished "War Correspondent," he's now deep in "Polo" 



46 



JACK HOLT 




f 



MARION DA VIES 



Marion has put on an extra-high hat — all for Auld Lang Syne. (It 
wouldn't be like Marion to wear one for any other reason.) It's 
the kind of millinery that Ziegfeld beauties used to wear and get 
away with — and then become movie stars. Looking younger than 
ever, Marion is bringing back those glamorous days in "Blondie 
of the Follies" — in which she glorifies the show that glorified her 

47 







Lippman 



To spoon while you croon is a privilege that's denied to the pro- 
fessional throaty warblers (ask Rudy and Bing and Russ — they 
know) but when the opportunity presents itself 'tween scenes on 
a movie set, David Manners is not the type to pass it up — not 
when Ann Dvorak is within spooning distance. This movie couple, 
having finished "Crooner," is separated now. Come home Ann! 



ANN DVORAK 

AND 

DAVID MANNERS 



48 




When Constance Bennett goes in for anything, 
you can trust her to do it with a BANG! Her 
Santa Monica Beach house is no exception. It 
has all the swank and comforts of her town 
house. Not only the awnings and the beach 
chairs, with their ducky sunshades, are brightly 
colored, but Connie has several gayly-striped 
beach robes. When she's not working on her 
new picture, "Rock-o-bye", you'll find her rest- 
ing in her sandy backyard. Like the hairdress? 



49 




1 



JOAN MARSH 

One of the most striking per- 
sonalities of Hollywood's 
Younger Set, Joan Marsh is 
the type whose irresistible 
charms are causing Hopeful 
Hearts to beat faster. She's 
a cure for the most stubborn 
case of astigmatism. Joan 
may be married soon (not 
Jimmy Dunn) to some young 
"heart-case," but meanwhile 
she hopes some Front Office 
will rush her and give her a 
part like she had in "Bachelor 
Affairs." Those provocative 
eyes and hair and smile just 
can't be wrong 



50 



There's a 

We d d i n g 

ahead (or 
TALLULAH 

Bankhead! 



After Garbo, she is the most famous "bachelor girl" 
in the movies — but it won't be always thus, predicts 
Clifford W. Cheasley, the noted Numerologist. He 
even indicates when her happy marriage is likely to 
occur, and adds that Numerology reveals that 
Tallulah may temporarily return to the stage next year! 

By CLIFFORD W. CHEASLEY 

With this issue, MOVIE CLASSIC inaugurates a new, 
exclusive series of character analyses of the stars — as a 
sequel to the recent series by Louise Rice, the noted 
graphologist, who has told you what their handwriting 
reveals about the stars. Clifford W. Cheasley, author of 
this new series, is world-famous as a Numerologist. He 
will tell you what Numerology reveals about the stars' 
inner selves — from their names and birth dates. 

—Editor. 



TALLULAH BANKHEAD— the source of her 
name is the Tallulah Falls: cool waters flowing in 
graceful cascades in the heart of the warm South. 
Figured according to the science of Numerology, 
which measures character, temperament and opportunity 
as the yardstick measures cloth, her name sends out 
numerical vibrations which sound "the spirit and meaning" 
(Continued on page 68) 



HOW TO GET A GENERAL NUMBERSCOPE 
OF YOUR OWN 

For your general Numberscope, 
which will outline briefly your 
characteristics, health, wealth, 
love and work, send your full 
name (no initials) to Clifford W. 
Cheasley, Movie Classic, 1501 
Broadway, New York, N. Y. 
Enclose 3^ stamped, self-ad- 
dressed envelope and 10 cents 
to cover clerical expenses. 





Dvar 



General Forecast for October, 1932 

The value of this month in business conditions and in 
national and international affairs will depend largely upon 
the really definite phases of settlement and adjustment begun 
in September. April, June and August have been the impor- 
tant months for the new efforts at stabilization, but July and 
September were better months for the public to see practical 
results of these efforts. During October, there will be strong 
indications of a new order of government being prepared, but 
the principal result of this in relation to economic conditions 
will be to prolong a reaction in the public mind based upon 
fear and caution. Speculative markets will continue the 
activity seen in August, but the real issues of this month 
both here and abroad will not be made known to the public 
until November. 

Readers will do well to adopt the success psychology for 
this month in relation to their own thinking and acting. 
There will be delays; it is an easy month in which to argue 
and fight. But two-thirds of the things that look as if they 
might mean trouble will be dispelled in the last week of the 
month. Therefore, hold on to your "hunch," and avoid 
argument, worry and anxiety. 




51 



They Asked 
Him to 

Kiss 

Joan Crawford 
and 

Robert 
Young 

Blushed/ 




Bob says he has an inferiority complex "big enough for an elephant. He loses it when 
he starts acting — except in love scenes. Then it gets worse than ever/ For — believe 
it or not — this juvenile sensation thinks he doesn t have any sex appeal and arouses 

only mother love! 

BY ELISABETH GOLDBECK 



WORRYING about lack of sex appeal isn't what 
keeps most Hollywood stars awake at night. 
Helen Hayes is the only actress who has 
been known to admit that not having much 
of it has given her some uneasy moments. Now along 
comes a young actor who is fit to be tied because he 
doesn't reek with physical lure like Valentino and Gable 
and Weissmuller. 

Maybe environment had something to do with it, for 
Robert Young and Helen Hayes made their screen debuts 
together as the mother and son in "The Sin of Madelon 
Claudet." Anyway, Bob worries and worries — in spite of 
the fact that he has risen sensationally and is being 
boomed for stardom. 

I hey tell me I have no more sex appeal than an oyster," 
he blurted out. "Absolutely none. They admit I have 
a certain boyish charm, but no sex appeal whatsoever. 
I'm trying desperately to think of some way to develop 
it. They've all hinted that I should take drastic measures, 
though there have been no outright complaints from the 
Front Office." 



52 



Bob was half-kidding and half-genuinely-worried as he 
discussed this most frightful calamity that could befall a 
young actor. What to do, what to do! 

"Soon they'll be suggesting that you go out and have 
an Affair for the sake of your art, as they always do to 
the sexless ingenues," I said. 

"Yes, they've already delicately hinted at that," he 
sighed, and furrowed his brow still deeper, "but I'm 
afraid that's not it. I fall in love every two days, and get 
terribly worked up about girls. But when I do a scene 
for the screen, there's something in me that prevents me 
from becoming so familiar with strange people who 
aren't really in love with me. Even though I throw my- 
self into it and give my all and act as torrid as possible, 
there's still some indefinable barrier that shows through. 

"I can go through the motions, but the camera catches 
my inward feeling of restraint and embarrassment, and I 
look absolutely wooden in a love scene. Directors are 
always saying to me, 'Don't kiss her as if you thought 



she was poisonous 



(Continued on page 72) 



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the yielding firmness of a youthful skin 

this much OLIVE OIL goes into every cake of Palmolive 



Use this soap rich in oiive 
oil . . . twice a day ... as 
experts advise. See how 
skin returns to the yield- 
ing softness of youth. 

THERE is a very easy, very inex- 
pensive way to protect the youth 
of your skin ... to bring back 
the loveliness you may think you 
are losing as you grow older. 
Olive oil is the answer. Even be- 
fore baby's first bath comes an 
olive oil rub. And to keep skin 
soft, supple, smooth, expetts insist 
that no beauty treatment known 
can compare with olive oil. 

A real beauty soap must have a 
known beauty ingredient. Olive 
oil is Palmolive's ingredient. The 
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Tonight — start the Palmolive 
way to a soft, youthfully firm skin. 
And remember — skin does not 
mean just face and neck— you must 
bathe in these rich, youth giving 
suds. Then watch — confidently — 
expectantly for the skin you desire. 
Smooth, lovely firmness that tells 
die world you are young . . . young 
. . . young! 








A smooth, firm, youthful skin rewards the woman who realizes the 
beauty-value of olive oil. Reproduced from an actual photograph, 
the test tube at the left shows you the amount of olive oil that 
goes into each 10c cake of Palmolive Soap. 



\\JULJp JUrujJr $cAjctx>£cuaJL QjcrmJJbi^jLJO-n/ 



53 





Screen Stars 
know how to KEEP 
the radiant charm of 
YOUTH 

SCREEN STARS have no fear 
of birthdays ! A woman can be 
charming at any age, they declare, 
if she knows how! 

"I'm over thirty," says the fas- 
cinating Betty Compson, adored 
screen star. "And I don't mind 
admitting it in the least. No woman 
need fear the years ahead if she 
knows how to take care of her 
appearance." 

And Anna Q. Nilsson agrees! 
"Keeping young isn't a matter of 
birthdays," says this exquisite star, 
whose recent return from Sweden 
caused thousands of fans to rejoice^ 
" Stage andscreenstarshavelearned 

how to keep their youthful charm. 

What is the secret the lovely 
stars know? Guard complexion 



Who would believe this lovely star is 
over 30! "Actresses must keep youthful 

skin is absolutely necessary. I ve used 
Lux Toilet Soap for some time-it cer 
tSy does wondersfor the complex^. 



Recent photograph by Preston Duncan 



Lux 



54 



out g/orious/t/ YOUNG 



beauty above everything else 
they advise. Use Lux Toilet 
Soap, as we do! 

On Broadway, as well as in Holly- 
wood, this luxurious soap is the 
favorite complexion care. It is 
found in theater dressing rooms 
throughout the country. 

9 out of io Screen 
Stars use it 

Of the 694 important Hollywood 
actresses, including all stars, 686 
use fragrant Lux Toilet Soap-so 
gentle, so beautifully white no 
other soap can rival it It has been 

made the official soap for dressing 
rooms in all the great film studios 
Surely you will want to guard 
your complexion this wise,sureway ! 

■ 

Over 30 and so amazingly youthful! 
?Kec P n. young is a matter of known,, 

how " says Anna Q. Nusson beloved 
staT "A smooth, clear complexion al- 
ways says 'youth/ 1 discovered _ years 
Tgo that Lux Toilet Soap would keep 

my skin always at its very best. 



Toilet Soap 




Recent photograph by Preston Duncan 



«, 



55 



Taking In The Talkies 

Larry Reid*s Slant On The Latest Films 



BIRD OF 
PARADISE 



Every movie has to have a love story — hut "Bird of Paradise" is the first 
movie I have seen in a long, long while that is ALL love story. It is 
refreshing in its simplicity, in its glorification of those good, old primi- 
tive emotions, and its lack of weary sophistication. Its plot pattern 
is an old one, but it is woven in new, more vivid colors, now that the screen can talk. It is 
the tale of a white man and a brown girl — how they discover one another, how they defy the 
tabus of both their races to run away and live in an island paradise all their own, and how 
their love reaches its climax. Dolores Del Rio, gloriously brown, is also gloriously pagan as 
the girl; Joel McCrea is impulsively boyish as the outcast white man. The settings are the 
real thing — no imitations. And the ending isn't what you might expect. Joel doesn't forget 
the brown girl for a white girl. Fie on the censors! 




BACK 
STREET 



"Back Street," from the photographic pen of Fannie Hurst, is a love story of a far 
different sort — a story of a woman who Gives All, and gets precious little return 
on her investment. A kept woman, in other words — a woman in the "back 
street" of a man's life. But she is not the usual movie type; she is not a sexy 
gold-digger, but big-hearted and sensitive. Your, sympathies are all for her, particularly with 
Irene Dunne playing the role and rising again to the heights she reached in "Cimarron." She 
devotes her lifetime to a man who wasn't willing to marry her, but needs her — more than he 
ever realizes, until it is too late. She is the kind of character that comes along once in a blue 
moon and wrenches your heart out. John Boles surpasses himself as the man who didn't know 
love when he saw it. Though surrounded by a large and noteworthy cast. Irene and John 
are, from beginning to end, the only characters that matter. 




SKYSCRAPER 
SOULS 



"Skyscraper Souls" started out with a good idea, but somewhere 
along the way it faded away into just another movie — a bit 
more entertaining than most. As in "Grand Hotel," there was 
a chance to present a panorama of life with one building as its 
setting; but the characters this time aren't the kind I'll remember from now until Christmas. 
The chief of them is Warren William, echoing his brilliant performance in "The Mouth- 
piece," except that now he is a sharp, woman-crazy banker, instead of a woman-crazy, 
shrewd lawyer. The story revolves around his suave villainies, both in finance and ro- 
mance, climaxing in his final pay-off. Yerree Teasdale, a newcomer from Broadway, almost 
steals the picture as his secretary. Maureen O'Sullivan, as a young stenographer who catches his 
eye, also does good work. The dialogue has pace, and the skyscraper crowds are vividly pictured. 




AMERICAN ^ he mov i es ought to be able to borrow millions, after the bankers get a 

look at "American Madness." For, in the dramatic person of Walter 
M A D N E S S Huston, it glorifies the men to whom America trusts its savings ac- 

counts. This banker that Huston portrays is a two-fisted man of 
ideals, who is out to see that his depositors get a fair break, even if he, himself, is broken in 
the attempt. A robbery takes place, and in the hurricane of rumors that follow', the amount 
soars and soars — until finally there is a panic. This mob scene is tremendous, worth going 
miles to see — with Huston trying to stop thefrenzied onrush of angry depositors. Even before 
Pat O'Brien, assistant cashier, discovers who committed the robbery, Huston has matters well 
in hand. Kay Johnson, as the banker's unfaithful wife, and Constance Cummings, as O'Brien's 
sweetheart, do well with stock roles. But that mob scene — don't miss it. 




HORSE If you aren't exactly m your right mind — and you can't be after you watch 

_ the Four Mad Marxes for an hour — you're likely to laugh yourself 

FEAT H ERS into a straightjacket at "Horse Feathers." It is more than a riot of 
insanity; it is a pogrom, with college and football the victims. 
Groucho (he's the one with the mustache and the wisecracks) is the gay prexy of Huxley 
College; Chico (he has a furious Italian accent and plays the piano) is the college bootlegger; 
llarpo (does he need any identification?) is the village dog-catcher and blonde-catcher; 
and Zeppo (the youngster) is the lover of the college widow (Thelma Todd). The plot, such 
as there is, is as mad as their antics — and ends in a football game that is the zenith of 
tomfoolery. Groucho's puns are atrociously funny; Harpo's pantomime reaches a new peak 
in dizziness. If you can take your nonsense in big doses, I advise you not to miss this one. 




uqwic It's a long time between Harold Lloyd comedies, but when they arrive, they are 
_ worth shouting about. Especially his latest. No one — not even a gossip 

CRAZ/ columnist — knows Hollywood and the studios better than Harold, and he ap- 
parently had the time of his life in making this comedy about the old home-town. 
Don't get the wrong impression, however. He doesn't make fun of the place where movies 
are made; he lets Hollywood keep all its glamour, but he does have his fun with some of the 
local customs. Like Merlon of the Movies, he is a groping young man who has an urge to be a 
movie star. But, unlike Merlon, he has persistence. Everything from the sublime to the ridi- 
culous happens to him, but Harold comes through. His misadventures are devastating, 
Satanically amusing; he has never had any funnier. And, incidentally, he is more romantic 
than usual — with Constance Cummings as the girl in his life. 




56 



V 




Colgate's ?- why certainly/ 
nothing can clean them better, 
and when theres anything wrong 

WITH YOUR TEETH, yOUNG LADy- yOU 
MARCH RIGHT DOWN TO MY OFFICE." 




f 



"My dentist and my purse 

suggest the same toothpaste 



Dad said we had to come down to 
earth — and meant it — so mother 
and I started to cut corners. 
Necessity brought me to my senses 

— in more ways than one. Fifty 
cents did seem a lot for toothpaste 

— even in boom times. I found 
Colgate's at a quarter cleans my 
teeth — if anything — better than 



ever — and it tastes better, too. 
And you should have heard the 
recommendation my dentist gave 
Colgate's. So here we are — sav- 
ing a quarter — and a lot better 
off — because between you and 
me — I never did quite believe 
those extravagant claims some 
high-priced toothpastes make. 





This seal sign/fits that the composition 
of the product has been submitted to 
the Council and that the claims hate 
been found acceptable to the Council. , — - 






5 1 



ISABEL: Honestly, it 
spoils my game looking 
at my "dishpan hands" — 




MONICA: Mine looked 
even worse when I was 
first married. 

ISABEL: I can't believe 
it — yours are so exquisite 
now — so smooth and white. 




MONICA: Thanks, 
darling! — All I did was to 
use Lux for my dishes. It's 
so quick — and positively 
miraculous for your hands. 

WHAT IF YOU 
HAVEN'T A MAID 

DON'T IMAGINE that women with ex- 
quisite hands always have maids to do 
their work. 

Nowadays it's much more likely that 
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inexpensive, marvelous kind of beauty care 
. . . they wash dishes with Lux! 

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LUX for dishes- 
soft white hands 
for less than 
10 a day 




The Love Di 



ivorce o 



f the Chevali 



evaiiers 



{Continued from page 43) 



Maurice several months ago when she was 
ill in New York — snapshots that he carried 
in his pocket and took out proudly to show 
to friends, like any affectionate husband. 
And that inscription, in case you don't know, 
meant, "Always — Love." 

Yet the walls of his dressing-room bore 
several sumptuous poses of Dietrich. 

Chevalier has never been a talkative 
person, and went around little in Holly- 
wood. Pickfair was almost the only movie 
home he visited. As a result, there is a 
singular dearth of people qualified to answer 
Hollywood's questions about Maurice. One 
of those questions is: Why has Maurice so 
far sacrificed gallantry to sue his wife in- 
stead of allowing himself to be sued? 

He once mentioned to an interviewer his 
ardent desire for children to inherit his name 
and fortune, but after Madame Chevalier 
almost died once in childbirth, the doctors 
forbade her to risk motherhood again. 

Another Hollywood question: Is it an- 
other case of Napoleon and Josephine; and, 
if so, who is Marie Louise? The name of a 
Parisian music hall actress has been sug- 
gested. Was that an attempt to shield an- 
other more famous star? What about 
Jeanette MacDonald or Irene Bordoni — if 
Marlene Dietrich is to be left out? What 
was Madame Chevalier's intended counter- 
suit and why was it suddenly withdrawn? 

We asked these questions of the one man 
still left in Hollywood who knows most 
about Chevalier's affairs, a man who wishes 
his name left out of the case. 

"They were two French people — in 
America," this friend of Maurice Chevalier 
says. "That was what caused all the 
difficulty. In their own country, they might 
have been able to hold on to their happiness. 
They would have known better how to cope 
with circumstances. In Hollywood, there is 
only one way to meet a domestic crisis — 
divorce." 

He Was Americanized ; She Wasn't 

THREE years ago, Maurice Chevalier 
and his wife were introduced to Holly- 
wood at a big luncheon in the Roosevelt 
Hotel. Maurice acknowledged introductions 
with a pleasant little speech, in extremely 
broken English. His wife said a few 
gracious words in French. When Madame 
Chevalier went back to Paris a few months 
ago, she had mastered only a few phrases of 
our strange, barbaric language. When 
Maurice stepped aboard the transcontinent- 
al train in July, there was the barest trace of 
an accent in his fluent English. His tailoring 
was purest Hollywood; his shrug alone 
stamped him as "foreign." 

In the three years of their life in America, 
Maurice Chevalier has adapted himself to 
the country and its ways. Madame 
Chevalier, who has followed his wishes — the 
wishes of a French bourgeois husband, who 
guards his household jealously from the 
world — has stayed at home, overseeing his 
household and has remained a Parisienne. 

Neither one of them liked their new 
existence, far from their beloved boulevards, 
and their native Montmartre. Madame 
Chevalier, in particular, shrank from the 
brusque and blatant Hollywood life, almost 
with terror. But while Maurice was learning 
to be an American, Yvonne remained al- 
ways the little French dancer of the Casino 
de Pan's and the Moulin Rouge — in appear- 
ance, ways, speech. 

"He began to be embarrassed for her and 
with her," the man who knows them well 
says, "She didn't fit into his new way of life. 
She was unhappy and restless, herself. She 
wanted to go back to her work, too— she was 



well-know^n to Paris as a singer and dancer. 
But change as much as he might outwardly, 
Maurice was too much the middle-class 
Frenchman to want his wife to have a public 
career. 

The Paris-born romance that is now in the 
Paris divorce court dates back ten years to 
the days when Mistinguette had her youth- 
ful dancing protege, Chevalier, freed by her 
influence from a German prison camp. Re- 
covering from his wounds at the close of the 
war, Maurice became her partner in her 
famous revues. In the same company was a 
young dancer, Yvonne Yallee. Youth called 
to youth, and the two fell passionately in 
love; but in deference to the feelings of the 
music hall queen who, it is whispered, also 
had a fondness for Maurice, their marriage 
was delayed for five years — until Chevalier's 
theatrical association with Mistinguette was 
broken up. They had been married and 
entirely happy for two years, when Maurice 
was called to Hollywood and Fame. 

What Led to Dietrich Rumors 

FOR all of his screen fame as the gay, 
gallant, and slightly "naughtee" lover, 
Maurice Chevalier in Hollywood played the 
happily married man without so much as a 
whisper of gossip — until the rumor came 
that Marlene Dietrich had requested to play 
in a co-starring picture with the debonair 
Frenchman. 

Since then Hollywood has become ac- 
customed to seeing Maurice and Marlene 
lunching together in the studio cafeteria, the 
usually impassive countenance of the Ger- 
man girl vivid with smiles, the naturally 
saturnine Maurice neglecting his luncheon 
(as no good French bourgeois ever does) to 
talk to his companion. In company with 
Yon Sternberg, Chevalier and Marlene have 
watched the wrestling matches together, 
and one day repeated the holds and postures 
of the ring with each other as sparring 
partners, for the amusement of a beach 
party. At the studio they visit each other's 
sets frequently. 

Admitting the attraction of Marlene and 
Maurice, a studio acquaintance points out 
that its very openness proves that it is a 
harmless friendship. 

"It was not Marlene or any other person 
that was responsible for the break between 
the Chevaliers," he avers. "It was a growing 
sense of difference in viewpoint. One of 
them has changed in this new environment; 
the other hasn't. More and more, Chevalier 
is becoming an American business man, but 
his wife is a Parisienne to her fingertips and 
always will be. She has spent much time in 
her own country this last year. Who knows 
why? Homesickness, perhaps. Perhaps to 
be with her mother, who is ill. Perhaps, as I 
hear, Maurice sent her away. They were 
quarreling more and more. And I think 
their love meant too much to each of them 
to have it tarnished by petty quarrels." 

Possibly. But Hollywood wonders. If, 
after ten years of romance with Yvonne 
Yallee, Maurice Chevalier wants a divorce, 
Hollywood feels that it is just a matter of 
time before the headlines will announce a 
new romance story for Maurice. Will the 
heroine be Jeanette MacDonald, whom he 
kissed before a Paris audience on her per- 
sonal appearance tour abroad last year, and 
who has played his screen sweetheart so 
successfully for many pictures? Will it be 
Marlene, possibly freed by another divorce, 
when she makes her trip to Germany this 
winter? Will it be one of his own country- 
women who can give hi n the heir he desires? 
Hollywood wonders. 



58 



LJU it h a skin naturally moht and lihciou* 
does LlJPE V E l_ E Z "7^££^ Csi£CCWl4 totr ? 



Hollywood dermatologist says Yes , 
Advises her to preserve that firm skin 
roundness, so childish and so seduc- 
tive ... by using Woodbury's Creams. 



Shiny cheeks look young, Lupe Velez be- 
lieves. But a skin has to be immaculately 
clean and fine to dare to follow that fashion. 
Lupe Velez softens her skin with cream, 
washes it with soap and water, powders lav- 
ishly, but then rubs the powder off again . . . 
to give her face those youthful highlights. 

If you have dry skin, you need creams, 
obviously. One application of Wood- 
bury's cold Cream on a rough, parched 
skin will show you at once how much 
your skin has hungered for those soften- 
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But Lupe Velez hasn't dry skin. Charac- 
teristic of her ardent southern type is her 
rich "plummy" complexion. Her skin 
never flakes or peels. It blooms like the 
lush flowers of a tropic night. Yet the 
dermatologist who guards the complexions 
of famous screen stars advises Lupe Velez 
to use Woodbury's Creams regularly. Be- 
cause, he says: 

"Underneath a baby's skin, a supporting 
layer of fat cells keeps the skin full and 
firm. When that cushion of fat falls away, 
the skin loses its rounded fullness and 
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circulation, the dry-heated air of our 
homes, low-calorie diets, all these tend to 
exhaust that youthful layer of fat beneath 
the skin. Even if your skin is not dry on 
the surface, use Woodbury's COLD Cream 
to replenish that deep, natural cushion of 
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Woodbury's COLD Cream is excellent for 
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"W oodbury's FACIAL Cream fused as povv- 
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and impurities out of the pores." 
• • • 

Give YOUR skin this same wise care . . . 
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before going out. Both on sale (with other 




W 7 oodbury Scientific Aids to Love- 
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woodbury's cold cream . . . Melts 
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woodbury's facial powder . . . 
Spreads evenly. Does not clog the 
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50£ and 31 the box. 



LUPE VELEZ . . . PHOTOGRAPHED 
IN HOLLYWOOD BY STEICHEN 



USE THIS COUPON FOR DAINTY SAMPLES AND PERSONAL BEAUTY ADVICE 

lolm II. Woodbury, Inc., 632a Alfred Street, Cincinnati, Ohio 

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For generous sample of one of Woodbury 1 Dircc Famoui Shampoos, enclose 10 .cut. additional .ma "> 
type of scalp. Normal Scalp O DryScalpO Oil] nalpO 



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60 



Hollywood's Secret Marriages 
(Who Can Tell?) 



(Continued from page 23) 



suspected of having already said their "I 
do's" to a minister. That's why the argu- 
ments are waging across the highball trays 
at Malibu and the luncheon tables of the 
Brown Derby. Is Lily Damita secretly 
married to broker Sidney Smith? Is 
Jeanette MacDonald married to her fiance 
of five years, Robert Ritchie? Is Gwili 
Andre married? Is Lina Basquette secretly 
married to Teddy Hayes? 

In one case, Hollywood is certain that a 
well-known screen star is married to her 
constant escort, simply because of the 
sincere, hearty manner in which she has 
slapped the gentleman's face — a gesture, 
observers have concluded, that could not be 
other than wifely. 

On another occasion a Beverly Hills 
matron asserted that she was positive a 
young couple were secretly married. Didn't 
they, she demanded, have dinner together 
every night, sometimes never addressing a 
word to one another and in general acting so 
very bored that the wedding bells must have 
rung? 

Until relentless questioning by interested 
friends, gossips and reporters finally wears 
down the suspects of secret marriages, 
Hollywood has nothing but rumor to judge 
by. In the meantime Movie Classic 
presents the arguments as they stand at the 
moment, pro and con. Look them over and 
decide for yourself! 

What About Lina and Gwili ? 

/S Lina Basquette really married to Teddy 
Hayes? 

Pro: Lina's affairs have been so widely 
publicized in the newspapers that almost 
everyone is familiar with the arguments. It 
is amusing, however, that a marriage 
occurred in Newark, New Jersey, between 
one Lena Copeland Baskett and a certain 
Theodore T. Hayes on October 14, 1931. 
Lina and Teddy were both present in the 
East at that time, and the address the bride 
gave at the ceremony was the hotel where 
Lina stopped. The witnesses of the marriage 
were unable to identify pictures of Miss 
Basquette, but said the bride had been a 
"very pretty, dark-haired girl." 

Con: Despite this, Lina denies most 
vehemently that she ever married Teddy 
Hayes, and Hollywood is wondering whether 
such a curious "coincidence" is really 
possible. Lina protests, "It was someone 
else of the same name!" and Teddy Hayes 
joins her in asserting, "Lina and I were not 
the persons who took out the license. This 
thing is going too far!" 

75 Gwili Andre secretly married to an un- 
named man? 

Pro: Three years ago, the story goes, the 
beautiful new Danish starlet was married 
during a brief visit in Washington, to a 
gentleman in the diplomatic service. Ap- 
parently Gwili did not see her husband — if 
he exists — after that short stay in the 
Capital, though a close Follies-girf friend of 
Gwili says there has been no divorce. 

The pros find it particularly hard to offer 
substantial proofs in Gwili's case, because so 
little is known of her past life that she is fast 
becoming the foremost mystery girl of 
Hollywood. No one suspected until just the 
other day, for instance, that she had ever 
been to Hollywood before, but now we learn 
that she visited the film colony two years 
ago, under contract to Joseph Schenck. 
The producer later bought back her con- 
tract, and Gwili, so far as is known, did not 
appear on the screen at that time. 

Con: The fact that no one has come for- 



ward with the Washington diplomat's name 
would tend to put this marriage story into 
the realm of wild rumor. In addition, Gwili 
is understood to be "engaged" to the rich 
New York broker who is her constant com- 
panion in Hollywood. 

Is Jeanette "Mrs. Ritchie?" 

/S Jeanette MacDonald secretly married to 
Robert Ritchie? 

Pro: This couple has been engaged for 
five years, which is considerably longer than 
some Hollywood marriages last. Mr. 
Ritchie traveled through Europe with 
Jeanette and her mother, and lives with 
them in Hollywood — a much closer associa- 
tion than is usually considered conventional 
for a merely "engaged" couple, even when 
the fianc6 is the fiancee's business manager. 

Further, Jeanette is said to have for- 
bidden Robert to attempt a career in pic- 
tures, as if she thought one star in the family 
were plenty! Would a mere fiancee, the 
pros demand, dare assert such authority? 
And a final fillip is added to the argument 
by a close friend of Jeanette, who firmly be- 
lieves they are married simply because their 
attitude toward one another is "too, too 
domestic!" 

Con: Jeanette has admitted many times 
her fear that marriage would wreck her 
career, and she is known to be one of the 
most ambitious actresses in Hollywood. 
She says, herself, "If I ever married Robert 
Ritchie, it must have been in my sleep. I 
know nothing about it!" 

On one occasion, a reporter visited her to 
ask for a statement about her marriage. 
He had, he said, definite proofs that a 
wedding had occurred. The pros who ex- 
pected Jeanette to lose her poise when con- 
fronted with this man were mistaken. She 
laughed in his face. "If you have such ex- 
cellent proofs, why don't you print them!" 

That ended the incident, for the "proofs," 
whatever they were, never appeared in 
print, and Jeanette's fearless attitude in the 
matter is the cons' strongest argument. 

What About Lily and Aileen? 

/S Lily Damita married to Sidney Smith? 
This is another of those long-time en- 
gagements, the pros assert, and it was in 
connection with this couple that the face- 
slapping episode allegedly took place. Ac- 
cording to a bell-boy at a California resort 
hotel where Lily and Sidney visited, "If 
you'd seen Lily slap Sidney's face," he said, 
with awe, "you'd agree that they sure act 
married!" 

On the other hand, they still appear to be 
very much in love, and that in itself argues 
against a marriage, say cynical cons. Just a 
few weeks ago Sidney gave Lily a beautiful 
birthday party, and husbands, notoriously, 
are forgetful of such occasions! 

75 A ileen Pringle married to Matt Moore? 
The pros have suspected a marriage be- 
tween this pair ever since Aileen wrote to 
Mexico for one of those mail-order divorces 
from her husband of eight years, Charles 
Pringle. Matt, they insist, visits Aileen 's 
house for dinner almost every night in a 
highly domestic manner. 

Aileen herself takes the con side of it. 
"Matt and I are such old friends that I call 
on him when I haven't any other escort," 
she says. "He dines with me when his cook 
is out. We're just pals." 

Then she weakens her own argument by 
adding, "We see each other when we've 
nothing really amusing to do!" For that, in 
itself, suggests the attitude of a Hollywood 
married couple, doesn't it? 



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01 



FAT GIRLS 

NEVER WIN THE 

MEN THEY LOVE! 





r *3 

Depicting 
Healthful \ 
Slendemess 

of a I 
Kruschen 
Figure 





Bing Crosby Broadcasts the Date 
of His Surrender 



(Continued from page 44) 



Fat women must take "the leavings" 
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An 85c bottle (lasts 4 weeks) is sold 
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KRUSCHEN SALTS 



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span of the golden harvest. After a fashion, 
I've known Bing a great deal longer than he 
has known me. Two years ago, I was one of 
those addicted to the Cocoanut Grove for as 
many nights out of the week as I could get 
there to listen to the blue-eyed, casual young 
man known as Bing Crosby. This was before 
hewasa big shot among the Big Broadcasters, 
one of the crooning headliners along with 
Rudy Yallee and Russ Columbo. But even 
then, at the time when he was just another 
popular cafe singer in Los Angeles, a great 
many women who were old enough to know 
better were attempting to gaze dreamily into 
Bing's eyes as they floated past the orches- 
tra dais. He never seemed to see any of 
them. 

He would sing "I Surrender, Dear" and 
"Just One More Chance" with a throb in 
his voice guaranteed to send shivers down 
feminine backs — yet in a wholly impersonal 
way. You got the idea that, so far as Bing 
was concerned, the surrender was a long 
way off . . . somewhere on ice . . . even if it 
didn't sound that way. 

Often ladies desirous of making his ac- 
quaintance would send for him to come to 
their tables. He never accepted. He was 
usually found between dances smoking in 
solitary aloofness on the moonlit veranda 
that adjoined the Grove. Or else he was 
feverishly consuming buckets of ice water in 
the hope of quenching a hangover. Before 
Dixie Lee, the little blonde actress, came 
into his life, Bing often managed to acquire 
a hangover as often as twice a night. But I 
can vouch for this — he never got it from 
sipping the contents of beautiful and strange 
ladies' flasks. Bing carried his own. But 
that's an old story — Bing's drinking and his 
reform through Dixie — told too often, and 
perhaps over-emphasized in the telling. " No 
one could have drunk as much as they say I 
did," sighed Bing. "Not even a Crosby." 

Where You'll Find Him Then 

THOUGH I was more or less prepared 
for Bing's impersonal attitude toward 
women and night life and cafes, I hadn't 
exactly thought that he might also be im- 
personal about himself. Crooners aren't 
supposed to be. But if Bing really believes 
what he told me that day at lunch in the 
Paramount cafe, with Marlene Dietrich and 
von Sternberg on one side of us, and Fredric 
March on the other, then he's giving Bing 
Crosby just two more years and then .... 

He is going to operate a fish cannery! 

"My father-in-law is already in the busi- 
ness down near Long Beach," he went on in 
that husky voice that is his singing voice, 
"and I'm buying in my interest this year, 
though I doubt if I'll be able to take over my 
responsibilities actively for two more years. 
I figure I've got just about that much time 
before they begin to get tired of me. Talk 
about a career in the movies being short — it 
is long-lived compared to a radio career. It 
isn't anybody's fault. They just get tired 
of you. Or else someone with another way of 
singing comes along and they forget all 
about you in the rush to the new sensation. 
I'm not kidding myself about that. 

"And when that time comes, I want to be 
started in some sort of legitimate business 
where I can go on for years and years and 
people won't get tired." He grinned. "Did 
you ever hear of an old tired salmon-eater 
or tuna-fish-eater? Of course, not everybody 
likes canned fish, just as everybody doesn't 
go for baritones, but there are enough people 
who do like it, permanently, to keep a good 
cannery going. 



Not Kidding Himself 

WHEN I'm through, I'm going to be 
really through, too. No hanging on 
as a second best in night-clubs or picture 
shorts. I'm making a big salary from 
Paramount now, but they are paying it to 
me as a singer, not as an actor. It wouldn't 
make much difference if I accidentally 
turned out to be the best actor in the world 
— I doubt if I should ever become a big 
movie star. How many men can you name 
who have stepped out of some profession 
in which they have established themselves 
into similar fame in another? 

"You may read the articles written by 
Gene Tunney — but he's still the ex-champ, 
not a writer. It works the other way, too. 
John Barrymore might just happen to be a 
very fair boxer, but that's not his real game. 
It's the same with me: I'm a singer. They've 
been kind enough to say over here that they 
are very pleased with my performance as an 
actor in 'The Big Broadcast.' That's be- 
cause they hadn't expected anything. Some- 
thing tells me that my career as a movie star 
will last just so long as I can croon — not act! 

"As for starting a little Bing Crosby 
Club, that's out, too. You couldn't drag me 
back into a cafe for love nor money. It's 
a terrible life. You work when other people 
are playing, and you have to sleep while 
they are working. I'm married now and I 
don't want to drag any girl through that 
kind of life. Dixie and I are happy, and I'm 
not going to take any foolish chances with 
that happiness. 

"We're living in the house next to Sue 
Carol and Nick Stuart and their baby 
now, and I'd like to buy it. You couldn't 
pay me a salary to live in New York — 
not for good. When good old Crosby is 
all washed up on Broadway, he and the 
little woman are heading right back where 
they started from . . . California." 

But all this is two years away, and in the 
meantime Sweet Sixteen is bursting an ear- 
drum, catching every word that flows from 
the Crosby throat via the radio, phonograph 
and screen. Until I mentioned it to him, 
Bing said he had never given it a thought 
that his "surrendering" might be having an 
Influence on the morals of young America. 
He regards the "torch songs" (ditties be- 
wailing unrequited love, or a surrendering 
grand passion) as merely a fad. 

When you paint a picture of a young lady, 
snug in the arms of her favorite beau, pal- 
pitating in a light-dimmed room to the 
rhythm of a Crosby melody, Bing says: 

"Music has always been a sort of back- 
ground for romance, but the songs we sing 
now are no more of a menace to morals than 
the songs of any other day or time. It just 
happens that torch songs are enjoying a 
flurry of popularity. They are particularly 
adaptable to the crooning type of singing. 
I believe Rudy Yallee started it; certainly 
he popularized it." (Rudy and Bing are sup- 
posed to be rivals. But they frequently 
meet in New York, and they seem to hold a 
mutual esteem for each other.) "Torch-songs 
certainly aren't any more of an influence on 
the Impressionables than are the new books, 
the new plays or the new movies. The young 
folks aren't reading 'Elsie Dinsmore' or 'Lit- 
tle Women ' any more, either. Times get along 
— each time with its own romance motif." 

And in the meantime, Bing, the one and 
only Crosby, is very grateful for your kind 
attention. 'Tis a contributing factor to the 
Fish Factory, which may not be particularly 
romantic, but may prove to be the future 
career of the Big Broadcaster of today. 



62 






.. 



CTo he sure of good light 
at low cost 



>/, 



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Many people fail to realize that the true 
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And because the only sure way of getting 
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lamps in my stores." 



The reasons F. J. Pekoe, former president 
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only General Electric MAZDA lamps, are 
the same reasons that prompt so many out- 
standing industrial and commercial concerns, 
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and steamship lines everywhere to specify 
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every lighting purpose. 

When buying lamps, just look for the initials 
G. E. in a circle on the end of every bulb. 
Then you are sure of true lighting economy. 
General Electric Co., Nela Park, Cleveland. 



GENERAL @) ELECTRIC 

MAZDA LAMPS 







63 



'Her great-great-grandmother's? 
How'd she dare wash it?" 



Mm 



IVORY SNOW, silly! 
That's as gentle as the 
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• ; ^ 



$5 






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Looking I hem Over 

(Continued from page 20) 

NOT since the good old days of silent 
pictures have the studios been so over- 
run with visitors and star gazers. During 
the Olympic Games the studios decided to 
be lenient and permit the guests from all 
over the world to get a peek at what goes on 
around the various lots. Of course it was 
necessary to have credentials to gain admit- 
tance. The visiting athletic teams were par- 
ticularly welcome and were well entertained 
by the studios. 

As usual, when visitors in large numbers 
are permitted on stages a great deal of 
damage was done. On the Eddie Lowe set 
at Fox someone knocked over a lamp valued 
at $400. At Paramount, Helen Hayes 
and Gary Cooper were run through their 
paces in a very emotional scene in ' A 
Farewell to Arms" in front of an audience 
of visitors who were shucking and eating 
peanuts! 



HOLLYWOOD still hasn't recovered from 
the shock of the change that came over 
Garbo as she neared her native Sweden. 
She permitted a young American poet, 
named Philip Cummings, to share her so- 
ciety — and even to laugh with her. And 
when her boat docked at Gothenberg, she 
was so excited that she actually summoned 
reporters to her! She told them — with a 
smile — that she was not afraid of reporters 
(even though she did run from them in New 
York last winter), but she was just tired of 
being written about so much. She added 
that she was not returning to America in the 
near future, and denied that she had bought 
the country estate of the late Ivar Kreuger, 
the Swedish "match king." She said that 
she could tell no one her future plans. But 
she will resume her screen career — in Amer- 
ica. New York reporters, putting one over 
on Hollywood, got her to admit it before 
she sailed. 



KING VIDOR was noticed riding down 
toward the beach the other night in a 
brand-new roadster. There was a very pretty 
girl beside him. Eleanor Boardman Yidor, 
King's estranged wife, was week-ending at 
the beach at the home of friends. But I 
don't think that house was the destination 
of the roadster moving so slowly through the 
romantic, moonlit night. 



THE young daughter of Sue Carol and 
Nick Stuart has been named Carol Lee 
Stuart. The Carol is for Sue's last name 
and the Lee is in honor of Sue's best friend, 
Dixie Lee (Mrs. Bing Crosby). 



THE debutante daughter of Sue and Nick 
has only about forty days to her credit, 
but she packs plenty of her mother's cute 
personality. 

The other day, Sue was holding a sort of 
"open house" in her hospital room. Sally 
Eilers and Marion Rogell had presented the 
proud "little mother" with a stunning lace 
spread for her bed. There were fourteen 
baskets of gorgeous flowers about, to say 
nothing of ten boxes of candy, and an entire 
table laden with wires and letters. In the 
midst of this array sat Sue, decked in the 
"latest thing" for new mothers ... a pale 
peach satin gown with a pale green bed 
jacket. The radio was playing merrily and, 
what with Dixie Lee, Bing Crosby, Marion 
Rogell, Sally and Hoot Gibson, Marian 
Nixon, a couple of nurses and Sue's mother 
in attendance, the entire affair had sort of a 
Sunday party atmosphere. 

{Continued on page 67) 



64 



Our Hollywood Neighbors 

{Continued from page 12) 

FOR the first time in the memory of the 
oldest inhabitant, Hollywood is all 
steamed up over the coming elections. Every 
star physically able to stamp a ballot 
expects to go to the polls, and they're in 
training now by reading all available 
political propaganda. Louis B. Mayer, high 
mogul of M-G-M, is a staunch Republican 
and a personal friend of Herbert Hoover. 
He'll do all he can to make his lot safe for 
the Republican party. We aren't men- 
tioning any names but we know two or 
three M-G-M workers who are going to put 
on disguises and vote for FranklinRoosevelt. 

THE busiest girl in Hollywood right now 
is Claudette Colbert. She's acting in 
two pictures at the same time, and every 
once in a while she has to pause and figure 
out her true identity. In "The Phantom 
President" she plays an aristocratic daugh- 
ter of an ex-President. From that she 
rushes over to the DeMille set and plays 
Poppaea, the wicked empress in ' 'The Sign 
of the Cross." In the latter opus she is 
called upon to do some of the fanciest 
luring since Theda Bara made the world 
unsafe for males during the primeval 
studio days when vampires were in flower. 

AUTOGRAPH hunters around the movie 
l village are becoming a more serious 
menace than swarms of locusts. They 
make life a living Hell for stars who venture 
out in public. Now the racketeers are 
taking a hand. The stars do not like to be 
ungracious in refusing a signature, but, of 
late, they have discovered their names 
signed to some strange documents. 

One famous personage, much to his 
surprise, found that he had signed for the 
delivery of a grand piano. He already had 
one grand piano, and was that surprised to 
sec another instrument being moved into 
his Beverly Hills home. 

Regis Toomey was almost fooled the 
other day as he entered a Hollywood cafe. 
After he signed his name he happened to 
glance at the paper which this particular 
autograph hunter was trying to keep 
covered. 

It was a blank check. 

It's getting to a pretty pass when actresses 
try to end it all by soup. 
Just imagine, Tottie Gumdrop, the screen 
beauty, getting despondent and calling 
Meadows, the faithful servitor — 

"Meadows," she might say, "I feel 
another suicide attack coming on. Please 
open a can of split pea." 

STORK rumors are still going full tilt. 
Blessed events are more fashionable in 
Hollywood than Rolls Royces. When the 
long-legged bird isn't actually hovering 
over Hollywood chimney-tops, the populace 
make up stories. Norma shearer is very 
vehemenl in denying thai more progeny is 
mi the way to the Thalberg household. The 
Btory lias been all over town that Norma 
will retire temporarily after "Smiling 
Through" is completed. Norma says she 
should know if anybody would — and it does 
sound reasonable, except to the gossips. 

And Connie Bennett was caught knitting 
little baby things, and that story got 
started. It turned out that Connie was 
doing the knitting for sister Barbara's 
expected heir, but lots of folks aren't giving 
the Marquise the benefit of the doubt. 

What puzzles us is what happened to that 
offspring Lilyan Tashman promised the 
world two years ago. It really isn't fair for 
I.il to get our hopes raised like that, and 
then not make good on her threat. 




Pain is nature's warning that teeth are dis- 
eased. The cause of pain is usually decay 
and an important cause of decay is 
the invisible film on teeth that 
science calls "Bacterial Plaque" 





Modern children may well be 
expected to hove far better 
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THE actual cause 
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tooth is now be- 
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Dental science 
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The germs that cause the decay-produc- 
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Removal of film has therefore become an 
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tiful through 
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Cross<section of a tooth showing the in. 
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Sir,.. I 



( i I v 



State 



65 



I 



he tragrant Linit Deauty Datn 
Drings instant relict trom warm 

weatner discomfort 




-' MM 



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THE BATHWAy TO A 
SOFT, SMOOTH SKIN 




Ruth Marries George and 
Everybody's Happy 

{Continued from page ij) 

"There's my man!" she is sail! to have 
cried. She didn't know his name then — but 
the casting director soon told her, and later 
introduced them. From then on, they were 
often together. 

(ieorge used to visit at the home of the 
Forbes', and was Ralph's friend, too. (lie 
had known Ralph's family in England.) One 
day,. according to the same "insiders," he 
went to Ralph and told him quietly, 
"Ralph, I'll have to stop coming here. I 
can't come to your house again." 

"Why, what's the matter, George?" 
asked Ralph. " Why can't you? " 

" Because," said George, " I'm irrevocably 
in love with your wife." 

Ralph Forbes shook George Brent's 
hand. "You're the first man who ever had 
the decency and straightness to admit that 
to me," he is quoted as saying, "though 
there have been a lot of men who were 
crazy about Ruth." 

They still went around together, the 
three of them. When Ralph and Ruth were 
rehearsing Ralph's new play at Santa Bar- 
bara — a play with the prophetic title of 
"Let Us Divorce" — George often drove up 
to visit them. And if the "insiders" are 
still to be believed, one time George and 
Ruth were talking quietly in one corner of 
the hotel room, w r hile Ralph was studying 
his lines in another corner. Ruth went 
over to Ralph and put her arms around him. 

"Ralph, dear," she is quoted as saying, 
"you'll give me my divorce, won't you so 
I can marry George? And you won't mind, 
will you — too much?" 

Ralph went on studying. "Yes, yes," he 
is pictured as replying. "Certainly. But 
don't disturb me while I'm getting my 
lines." 

A few weeks later, she and George finished 
working on "The Crash," and Ruth left for 
a vacation in Europe. Ralph, at the train to 
bid her farewell, risked his life in staying 
aboard too long for one last kiss; he jumped 
off with the train in motion. A few days 
later, he was in Nevada, establishing 
residence. Ruth was in Madrid, where she 
confirmed rumors of divorce. And George 
Brent, in Hollywood, discreetly hinted that 
as soon as Ruth was free, they would 
marry. 

Rumors About Boyer First 

A ROMANTIC triangle is supposed to 
affect no more than three people — the 
husband, the wife and the "other man." 
(Or it may be the wife, the husband, and the 
"other woman.") But no matter how the 
sexes run, three is the given number of 
characters in a drama of affections. In the 
divorce of Ruth Chatterton and Ralph 
Forbes and the love story of Ruth and 
George Brent, however, eight very human, 
rather amazed people are to be numbered 
among the principals — in the most unusual 
love tangle that has ever come out of Holly- 
wood. 

The story of the Forbes-Chatterton-Brent 
triangle has been far-flung from the front 
pages of the press — but the other five in- 
dividuals have had nothing to say. Their 
parts in the drama have been submerged. 

Is the name Charles Boyer familiar to 
you? He is a young Frenchman. He is a 
close friend of Maurice Chevalier. He is 
also an angle in this many-angled romance. 
Last year, when it was so freely rumored 
that Ruth Chatterton and Ralph Forbes 
were "having trouble" and that they were 
not living together, it was politely gossiped 
that, if there were a divorce, Ruth would 
probably become Mrs. Charles Boyer! 
{Continued on page 77) 



66 






Looking Them Over 

{Continued from page 64) 

GENEVA MITCHELL, a former Follies 
girl, and Lowell Sherman are still very, 
very interested in each other. Saw them the 
other evening dining at an inconspicuous 
little cafe in Beverly Hills. After dinner they 
crossed the street and bought tickets to a 
neighborhood movie theatre. This romance 
is beginning to look like wedding bells to 
Hollywood. 



JOSEPH SCHILDKRAUT says he is 
"broke." He insists he is so broke it is 
necessary to declare bankruptcy. He can- 
not pay the $19,250 alimony claim against 
him ! 

The well-known actor and his new bride 
are back in Hollywood visiting his mother. 
The alimony is owed to Elise Bartlett, his 
former wife. She declares she'll get every 
cent due her, regardless of his bankruptcy 
proceedings. 

ANDY DEVINE, the whisper-voiced come- 
1 dian, is just about ready to break down 
and admit that Alene Carroll is becoming a 
"big moment" in his life. Both Andy and 
Alene are under contract to Universal. They 
met on the lot several months ago and it 
was a case of "romance rumors" from the 
verv first. 



GILDA GRAY, the dancer, than whom 
there is no whomer when it conies to 
the shimmy, is another lady who is popu- 
larly supposed to be upset over George 
Brent's marriage to Ruth Chatterton. 
George was formerly Gilda's "boy-friend." 
But if the lady is carrying the torch, she 
certainly doesn't show it. 

Louis Calhern is the latest admirer to pay 
court to Gilda. And, of course, there are 
those last-month's rumors that she was 
planning to marry a local cafe owner. 



NORMA SHEARER keeps insisting that 
she is not expecting the long-legged 
bird to pay a second call to the Thalberg 
nursery, and the gossips keep whispering 
that it is so. Several months ago, Norma 
made the mistake of saying she would like 
to remain away from the screen for a year 
and rest and play and go to parties and 
travel. "A year away from the screen " has 
come to mean but one thing to Hollywood 
. . . but the old town is often mistaken. 



BELIEVE it or not, but Malibu beach has 
gone very, very exclusive. There have 
been several protests from the movie beach 
colonists that there are too many photog- 
raphers about and too many reporters look- 
ing for new romances. So they have tried 
to rule off the photographers and reporters! 



DOROTHY MACKAILL and hubby, Neil 
Miller, are back in Hollywood alter 
three months of a personal appearance tour. 
Dot 9ays she had .1 grand time on the trip, 
but it was so strenuous that she lost eleven 
pounds. With her new, very slim figure, 
she was one ol the most striking women 
enl at the Cocoanul <.ro\c, recently. 
She wore a flame-colored dress- a st 11 1 11 
contrast to her suntanned skin. 



AS usual, at premieres, the radio provided 
l several intentional and unintentional 
laughs to the listeners-in. In the melee and 
'<r,md rush of "Strange Interlude" Mary 
Pickford became confused and said: 



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"I have had the privilege of seeing 
'Strange Interlude.' It is a wonderful pic- 
ture. I think it is the loveliest thing Norma 
Talmadge has ever done!" (She meant 
Norma Shearer.) 

But Ethel Barrymore meant it when she 
stepped up to the ''mike" and remarked in 
the famous Barrymore drawl: 

' 'They tell me the play has been shortened 
for the screen. I am delighted to hear it. 
This is probably the only time I will ever 
enjoy Eugene O'Neill. ..." 

Of course, the absent Garbo was the tar- 
get of radio jokes. Jimmy Durante kept 
wailing into the microphone: "Where is 
Greta? She told me she would be here 
early!" 



ONE of the prettiest parties of the season 
was given by Mrs. William K. Howard, 
wife of the director. It was an old-fashioned 
"picnic" in a secluded spot ten or twelve 
miles away from Hollywood. Brightly 
striped umbrellas gayly dotted the banks of 
a babbling brook, where the luncheon of 
fried chicken, potato salad, the proverbial 
stuffed eggs and pickles were served. After 
luncheon the group played bridge, walked 
the footpaths along the stream, or took 
' 'snapshots." Mrs. Howard wore a stunning 
blue and white flannel suit. Among the 
guests were: Sally Eilers in flannel trousers 
and a bright yellow sweater. Mrs. Sidney 
Lanfield (Shirley Mason) in a navy blue 
beach costume. Joan Bennett in a white 
sports dress with a red bow about her head. 
Mrs. Owen Moore in a combination of flan- 
nel "slacks" and a brown jacket. Mrs. 
George Lewis in green and white pajamas. 
And Janet Gaynor, who wore the popular 
"slacks" and a pale green sweater. 



There's a Wedding 

Ahead for 
Tallulah Bankhead! 

{Continued from page 51) 

of this lady of the waterfall. These funda- 
mental numbers, with their tones as clear 
as the cool rush of gay waters, indicate a 
perpetual desire to move on and express a 
beauty akin to her personal vision. They 
show that her nature is ambitious, inde- 
pendent and (like the waterfall) seeking to 
carve, by its own force, a path through, the 
stolid earth. 

The full expression of this fundamental 
sparkle, which is the deeper nature of 
Tallulah Bankhead, is often retarded to a 
broad glow. This is the result of having the 
number "3" for her Inner Nature and the 
number "7" for her General Temperament 
and Outer Expression. Three is the sign of 
visibility, "7" the sign of the invisible. The 
reaction between these two extremes, which 
might be called practical ambition and im- 
practical idealism, is considerable. 

Why She's Often Misunderstood 

SEVEN, which is Miss Bankhead's "num- 
ber," is one that I have found so often 
as the symbol of the Deeper Nature or the 
Outer Expression of people of the screen and 
the stage, for it means the ability to work 
behind a mask, which is a very evident way 
of explaining the portrayal of an artist — 
who appears not as himself, but in char- 
acter. 

No one who has this Expression number 
of ' '7" — the result of the addition of all the 
letters and numbers of the birth name — 
finds himself easily understood by other 
people. It is so usual for such a person to 
have an idea clearly in mind and then to 
{Continued on page 74) 



68 






How the Income Tax 
Hits the Movie Stars 

{Continued from page 17) 

ing to reliable authority, are Marie Dressier, 
Ronald Colman, Tallulah Bankhead, Mau- 
rice Chevalier, Wallace Beery, Ramon No- 
varro, Buster Keaton, Richard Dix and 
others. This means they will pay from forty 
to forty-five per cent in taxes. 

Chevalier and Tallulah are paid by the 
picture. The rest receive weekly pay- 
checks in the neighborhood of §5,000. Rich- 
ard Dix also shares in the profits of his films 
over a certain margin. "Cimarron" is said 
to have netted him a tidy sum. 

Profit-sharing is generally an unusual ar- 
rangement and concerns few stars who are 
not, like Lloyd, Chaplin and Fairbanks, pro- 
ducing on their own. Several directors, how- 
ever, share profits. Lewis Milestone is said 
to have received fifty per cent of the net 
profit on "The Front Page" and other pic- 
tures he directed. D. W. Griffith has had 
similar agreements. Ernst Lubitsch makes 
a straight §125,000 per picture. Cecil B. 
De Mille's income is unknown, but he is 
generally believed to be the wealthiest screen 
director. 

From the weekly salaries of five thousand 
dollars, we drop to thirty-five hundred. For 
some inexplicable reason movie wages, when 
passing the three thousand and a half mark, 
jump to an even five. Billie Dove at §4,500 
and Robert Armstrong at §4,000 are the 
exceptions that prove the rule. 

These Pay Nearly One-Third 

AMONG those reputed to be receiving 
§3,500 weekly are Joan Crawford, 
Nancy Carroll, Gary Cooper, Robert Mont- 
gomery, Kay Francis, and Joe E. Brown. 
Nearly one third of their salaries will be 
collected by the Government in taxes, less 
exemptions. 

The last official figure for Janet Gaynor 
and Charlie Farrell was §2,750 a week each. 
It is thought that this has been raised to 
$3,500 by now. Clark Gable, recently raised 
to stardom, is now thought to be in the 
$3,500 class. The §2,500 received by Doug- 
las Fairbanks, Jr., and Conrad Nagel has 
also doubtless been boosted. It was Nagel, 
you recall, who recently decried exaggerated 
movie wages, saying that there were actually 
only twenty-three so-called "headline sala- 
ries." When he spoke, Nagel may have been 
thinking of what the Government tax would 
do to Hollywood salaries. 

Just what amounts Greta Garbo and 
Marlene Dietrich find in their weekly pay 
envelopes, it is difficult to ascertain. It is 
popularly believed that Garbo has been 
drawing §7,500 a week. She is reported to 
have paid around §75,000 income tax last 
year. Some believe that Marlene, the queen 
of Paramount, receives more per year than 
Tallulah Bankhead. If so, she pays a 
healthy income tax. 

If the glamourous Swede gets what she 
is said to have demanded on a new con- 
tract, namely §15,000, she will pay a big 
sum in income tax — roughly, about §400,000, 
deductions. That's where the teeth of 
this new income tax law come in. Stars in 
some cases are going to find it cheaper to 
work for less mom . . 

How The Tax Can Jump 

PLACE yourself in the position of a 
player we shall call Millie Moonface, 
Millie finds that her accounts show that she 
has earned a net income of $98,000 for the 
year. She is offered $2,000 for a radio broad- 
cast. Simple mathematics show even Millie 
that the sum of two thousand jumps her 
net earnings to $100,000, which requires her 
(Continual on page 71) 





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Why Robert Montgomery Wants 
to Go Back to the Stage 



(Continued from page 41) 



movies now, and the stage mustn't be al- 
lowed to suffer — it's the only place inhere 
motion pictures can get their actors. It's the 
only place where talented newcomers can 
get their training. All the beauty contests or 
lucky breaks you read about won't supply 
the studios with actors or actresses. You 
can't take a pretty girl from behind a 
counter or typewriter and put her before a 
camera and expect her to be an actress. You 
can't take a college boy or a bank clerk and 
make an actor of him just with make-up. 
It's a profession that has to be learned, like 
any other. . . . 

"I have heard picture players say, 'When 
I've got enough money saved, I'm going to 
leave Hollywood and do what I want to do.' 
But do they? If I'd ever found even one 
screen star who had really done that thing, 
I'd say it myself. But no, while their popu- 
larity lasts, they never break away — and 
when it begins to lessen, they stay on, trying 
to make a comeback. I've saved pretty 
consistently since I've been in Hollywood, 
but if I wait until I think I've earned 
'enough' to retire on, I'll probably never go 
back to the stage. I don't want to wait, 
anyhow. I want to do a play in a New York 
theatre right away — this Fall, if I can per- 
suade them to let me go. And I don't want 
to give up pictures — I want them both. I 
don't see why I shouldn't have them both." 
Robert Montgomery, who was one of the 
young pioneers who left Broadway for 
Hollywood soon after talkies were invented, 
has made an outstanding success on the 
screen. Yet even now, when he gets his 
weekly pay-check, he laughs out loud as he 
looks at it. The size of it is still a joke to 
him, an incredible, delightful joke. He has 
never, for one single moment, believed that 
it would last. 

No Possessions to Hold Him 

"T TOW can anyone think he's on the 
I 1 screen to stay?" wonders Bob. "All he 
has to do is to look around him. If he goes 
out and makes a down-payment on a fine 
house in Beverly Hills with his first week's 
salary, the chances are that he'll lose his 
contract before the place is half paid for. 
Believe me, since I've been out here, my 
wife and I haven't bought a single thing that 
can't be easily moved back East when my 
time comes!" 

Hollywood is merely Bob Montgomery's 
temporary residence. His home is an old 
white farmhouse on peaceful acres among 
the hills of upper New York State. He 
bought this farm after he entered the 
movies, and has been back only once to see 
it, but it's his permanent address. 

"Our furniture doesn't go with the 
Spanish-type house we're renting," he 
laughs. "We bought it with a Colonial 
farmhouse in mind. We know the very wall 
space every piece will fit — we have blue- 
prints of the house, you see. I feel better 
with a piece of land that's mine. It seems 
so sort of fundamental and safe, with the 
world in such a tangle as it is these days. 
Why, people don't discuss sex any more for 
small talk — they argue economics, instead. 
Stocks go down, banks fail — but the land is 
there to go back to, if you need an anchor. 
It's something real. 

"Hollywood isn't real. Movie success 
isn't real. The very landscape isn't real — 
you can take a California tree and walk off 
with it almost, because things out here 
haven't roots. Mind you, I'm not com- 
plaining about the movies. I'm everlasting- 
ly grateful for what they've done for me, 
but tlie greatest movie success isn't enough. 



I've talked to screen stars who have at- 
tained it, and they're all restless. They've 
got ambition for something more, and there 
isn't anything more for them on the screen. 
No new triumphs to win. No place to go 
from the top! That's why I want to go back 
to the theatre. You're never 'there' on the 
stage, you're always working, trying some- 
thing new, hoping for a different kind of 
success with each new play." 

Wants a Good, Tough Job 

UNSATISFIED— not rfwsatisfied, mind 
you. That's how Bob Montgomery' 
impresses you — restless. It isn't enough for 
him to make a lot of money. Or to play 
polo, the rich man's game. Or to read 
columns of publicity glorifying him. His 
hard young eyes are looking for a tough job 
of work. He takes a clipping out of his 
billfold with a smile and frown. "Robert 
Montgomery," he reads, wryly, "because of 
his good work in 'Letty Lynton,' has earned 
a leading part in 'Blondie of the Follies.'" 
He makes no comment. He doesn't need to! 

His restlessness takes the form of writing. 
He has several hundred short stories in desk 
drawers at his house. He played an ad- 
mittedly duffer's game of polo till a few 
weeks ago, when he sold his string of ponies. 
"It seems childish feeding horses when 
youngsters are going hungry somewhere," 
he says. He sailed away with Douglas 
Fairbanks, Jr. and Laurence Olivier on a 
yacht for a regular he-man vacation recently 
— but they had to get back to work after 
only a few days. 

There simply isn't enough for youth — 
real, ardent, anxious, eager youth — to do 
in Hollywood. To be sure, some movie 
stars get a lot of fun out of spending their 
money. But beyond buying a piece of old 
pewter now and then, the Robert Mont- 
gomerys don't care especially for things — 
possessions that tie one down, and worry 
one. 

"They talk about my being a good saver," 
Bob frowns. "Well, it depends on what you 
mean. I wouldn't walk to the studio if I 
could afford to ride, and I wouldn't drive a 
poor, shabby little car if I could afford a 
good one. But money will mean freedom. 
We don't know what freedom means in the 
movies. I haven't been away for a trip 
except once, since I came West, two years 
ago. When picture stars go to Europe, they 
rush over and spend their time nervously 
waiting for a trans-oceanic telephone call or 
cablegram telling them to come back to 
begin a new picture." 

Reports that the recent closing of a 
Beverly Hills bank had wiped out all his 
savings, Bob says, are untrue. "They were 
in a trust fund," he says. "I lost my check- 
ing account — that's all." 

In company with the rest of the stars and 
the studio employees on the Metro lot, he 
took a thirty-five per cent cut in salary 
recently. "They revised the contracts to 
include that," he says, indifferently, "but if 
it had broken my contract to take it, I don't 
think I would have cared— much. I would 
have been back on the stage by now!" 

Perhaps money and the power of money 
don't mean so much to Robert Montgomery 
since he discovered that it could not buy for 
him the thing he loved most, the life of his 
baby. The young Montgomery's never speak 
of this sorrow — it lies too deep. But friends 
say that Bob spent a fortune on doctors and 
specialists, some of them sent for from the 
East, when his three-year-old daughter was 
stricken with a throat infection that proved 
fatal just before Christmas, 1931. 



70 



How the Income Tax 
Hits the Movie Stars 

(Continued from page 6g) 

to pay taxes of 830,220 instead of 829,120 — 
a difference of Si, 100. In other words, she 
can pocket only nine hundred of the two 
thousand she gets for the broadcast. It then 
becomes her problem to decide if the amount 
will compensate her for the work she must 
do. 

Figuring out that simple little problem, 
it is believed, is really what caused Walter 
Winchell, the Broadway columnist, to forego 
a film appearance. He computed his earn- 
ings from all sources and discovered that 
his picture salary would jump his net income 
several brackets to a higher percentage. De- 
ciding that the few extra hundreds he would 
make were not worth the effort, Winchell 
packed up and went back to columnizing. 

Another aspect of the new law that hits 
Hollywood hard is the section relating to 
bonuses above salary. It seems that 80 per 
cent of such bonuses go to the government. 
This is bad news to Hollywood's "bonus 
army" — those stars who are in the habit of 
receiving bonuses if their pictures pass a 
certain mark at the box office. It is under- 
stood that Clara Bow's contract at Fox for 
the one picture, "Call Her Savage," pro- 
vides for a salary of 8125,000, with a healthy 
bonus if the picture grosses more than 
S8oo,ooo. If Clara's comeback picture tops 
that mark, she will receive only 20 per cent 
of the bonus her contract calls for; the 
government will get the rest. 

Nancy's Predicament 

F'REQP'KNTLY in the past, when players 
have skyrocketed to stardom, their con- 
tracts have not been rewritten — but they 
have received salary bonuses to compensate 
for their new popularity. One of the several 
such cases, it is said, was formerly Nancy 
Carroll. When she suddenly zoomed up to 
stardom, Paramount gave her a bonus that 
amounted to 82,500 a week, making her 
total salary 83,500 a week (her contract 
called for a 81,000 a week salary). If Uncle 
Sam should take 80 per cent of her bonus, 
the gross would drop to $1,500 — and she 
would be taxed again on that. No wonder 
Nancy was glad to take a salary cut re- 
cently, so thai Paramount would tear up the 
old contract and hand her a new all-salary 
agreement! There- are others, too. 

The new law has other teeth equally 
sharp. The matter of exemptions, for ex- 
ample. The ( iovernment no longer differen- 
tiates between earned income and income 
from investments. Losses on security trans- 
actions are not deductible any more, if the 
securities have been owned less than two 
years. Thus a loss of, say, $100,000 on a 
stock bought last year cannot be charged 
off against profits in other stocks. You may 
have an actual net loss in securities for the 
year and still have a taxable income. This 
tooth is probably meant to discourage stock 
market manipulal ions. 

A number of ordinary exempt ions allowed 
people in the picture industry are still de- 
ductible. Others are not. Entertainment, 
lor example, is strictly out. Once, ;ill the 
elaborate parties given by film folk could 
be charged to "publicity" and deducted 
It was 1 Kit uncon 1 11 ion at one time to ch 
fifteen per cenl or more ol gross incomes i" 
"entertainment." Various reforms reduced 
tins percentage. Now, none is allowed. 
Charity donations will also be closely scru- 
tinized, with vouchers, receipts and can- 
celled checks demanded in proof. 

Expenses They Can Check Off 

API. paid publicity, including photographs 
and Ian 111.nl, i- still allowable but 

only if paid for. Under a previous ruling, 
{Continued <>n page 73 ) 




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She can't escape offending 
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71 



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(Continued from page 52) 



It all started when Henry Hinsdell, the 
voice and dramatic coach for Metro- 
Gold wyn's youngsters, in a moment when 
his applied psychology failed him, told Bob 
he appealed only to the maternal instinct. 
How Mr. Hinsdell knew this, only he can 
say. But everyone will admit it was 
enough to make any ambitious young actor 
morbid and neurotic. Ever since that day 
Bob has been in a panic, for fear when he 
does a love scene he may look as if he were 
kissing his sister. 

"It's really embarrassment, that's what 
it is," he continued in complete vexation. 
"It's all part of my inferiority complex. 
Have I got one? I've got one big enough 
for an elephant. I've always had, and I 
can't get over it. I'm not at all sure of 
myself. But it's a funny thing — it goes 
away the minute I start acting. Except in 
love scenes. Then it gets worse than ever. 

' ' I made a test with Joan Crawford for 
'Letty Lynton,' but I was terrible. I 
couldn't remember that I was just a man 
awfully in love with this girl, a man kissing 
the girl he loved. All I could think of was 
that it was Joan Crawford, the big star, and 
she was so beautiful, and I was just a 
beginner. And I got so embarrassed they 
decided I couldn't possibly play the part." 

The girls who used to swoon over Bob 
when he was leading man at the Pasadena 
Playhouse will be amazed to hear of this new 
turn of events. And it's not really serious. 
The truth is that Bob has his inferiority 
complex, and consequent maternal appeal, 
onlyj when there are celebrities around. 
Remember his only professional experience 
was six months in a stock company, and he 
feels just the way you would if you were 
suddenly asked to kiss Joan Crawford. 

Test Belied His Worries 

ON the first day of a picture, Bob is 
panicky. "Gee, what am I going to 
do, playing with troupers like Walter 
Huston and Lewis Stone and Neil Hamil- 
ton!" he jitters to his friends. For the first 
few days on the set he has been known to be 
positively sullen, so anxious is he to seem 
unintimidated by the famous ones. 

But don't be deceived. They took some 
love scenes in a hammock with Bob and 
Joan Marsh, and the results prove Bob has 
nothing fundamental to worry about. Ab- 
solutely no instincts missing, no mother's- 
boy traits apparent. Bob is O. K. 

"The only reason I'm worried about my 
lack of sex appeal," he said, "is because it 
makes me look so young. It prevents me 
from playing any parts but juveniles, and I 
despise those. In 'The Sin of Madelon 
Claudet' I wore a mustache to make me 
look a little older. I'm really twenty-five, 
but mentally I must be just a high-school 
boy, and that's what the camera registers. 
I'm afraid the mustache doesn't help much, 
though, and a false one always shows. I 
couldn't possibly grow one of my own." 
Bob admitted his shame in the same spirit 
of humility and desire-to-do-better with 
which he had confessed to maternal-appeal. 
" I can grow one on the edges, like a China- 
man's, but there's nothing in the middle." 

That checks mustaches off our list of 
topics to be covered in this story. Now lets 
get on with the wolves and the silver plat- 
ters. The wolf has never been far from Bob 
Young's door, he contends. His older 
brother, Joe, an actor in screen comedies, 
supported the family and made it possible 
for Bob to go through high-school, though 
the kid assisted with the usual paper-route 
and other adolescent jobs. The locale of 



this story is Los Angeles, by the way. Bob 
was born in Chicago, but he came here at 
the age of ten and hasn't been away since, 
except for a few weeks. 

"In school I was very studious," he said, 
"All I needed was the spectacles. But deep 
down I always had a feeling that I'd like to 
be an actor." He gave up the idea of college 
because he knew he'd miss both the social 
life and the student dramatics if he had to 
work his way through. And so it came about 
that the Pasadena Community Players got a 
new leading man. (Karen Morley was 
leading lady.) 

There was an English teacher at Bob's 
high-school whose only pleasure was in 
taking floundering young people who didn't 
know quite what to do with their lives, dis- 
covering their talents, developing them, 
and helping her charges toward their goal. 

"I had to work, of course," Bob related, 
"so I got a job in a bank, and went to 
Pasadena evenings and Saturday matinees. 
Gee, it's been wonderful the way I've never 
struggled for anything I've got. Every- 
thing's been handed to me on a silver 
platter. It's been just luck, all the way 
through. 

Acting Was Play, Not Work 

I WORKED in Pasadena purely as 
recreation. You know how some people, 
after work, go out to a cabaret, get drunk, 
and make whoopee. In exactly the same 
spirit, I went over there and acted. I was 
crazy about it, but I didn't even intend that 
it should be my profession, and I had no 
idea of doing it as a dogged struggle to get 
ahead." 

Meanwhile Bob left the bank, and got a 
job as collector for a Building and Loan 
company. That wasn't a very profitable 
move. When he saw the poverty in which 
his clients lived, instead of collecting he'd 
usually give them a few dollars, and tell 
his boss there was nobody home. The 
result was that collectors began calling at 
his house, and that led Bob to accept a 
job with a stock company touring the 
Pacific Coast. He returned from the tour 
richer by a little professional experience, a 
few staunch friends, and enough money 
to pay his debts. 

Then came the sudden streak of what 
Bob calls luck, served up on a series of 
gleaming silver platters. An agent who had 
seen Bob in Pasadena called him up. He 
had tests made at several big studios — and 
it was all just a sight-seeing tour to Bob, 
who had never been able to get inside the 
gates. Imagine his amazement when in a 
few weeks he was led to the official Metro- 
Goldwyn fountain pen, where, in a com- 
plete daze, he signed his name to a five-year 
contract. 

On the way home his agent said, "Now, 
how'd you like to go to Honolulu?"— but 
Bob was too numb to be surprised. This 
wizard had also signed for his client to 
appear in one picture for Fox Films, to be 
made in Honolulu. And Bob's screen career 
started off in a blaze of glory at the Royal 
Hawaiian Hotel, as juvenile lead in "The 
Black Camel." 

Just one year later, he was experiencing 
the stage-fright of a big premiere at the 
Chinese Theatre — the premiere of "The 
Wet Parade," in which he was the undis- 
puted leading man. His studio predicts big 
things for him, especially since "New 
Morals for Old" and "Unashamed" and 
"Strange Interlude." Not so bad for a boy 
who has no sex appeal and only the outer 
edges of a moustache. 



72 






How the Income Tax 
Hits the Movie Stars 

{Continued from page Ji) 

Ann Harding could charge fifty per cent of 
the operation expenses of her airplane to 
her publicity account. To do this, her name 
had to be painted on the side of the 'plane 
in letters of a specified height. Doubtless 
this ruling will be rescinded under the 1932 
law. 

Fifty per cent of expenses for film ward- 
robe is allowed, and the same amount for 
cosmetics. Fifty per cent of auto main- 
tenance, including chauffeur, is deductible 
if the car cost less than 85,000. Autos cost- 
ing over five thousand rate only twenty per 
cent exemption. 

Full commissions, salaries and expenses 
of business managers are deductible. The 
same is true of agents' fees, secretarial sala- 
ries and other personal employees used at the 
studio. There is a very clearly-defined line 
drawn between business employees and 
household servants. The salary of a maid, 
valet or hairdresser who works for a star at 
the studio can be deducted. A butler's sal- 
ary cannot. Attorneys' fees are allowed only 
for drawing contracts, defending property 
and purely business transactions. If a star 
becomes embroiled in a private quarrel, he 
pays for his own lawyer. 

There are other small exemptions — long- 
distance business telephone calls and tele- 
grams, books for research work, some travel- 
ing expenses and the like. But nowhere near 
the number previously allowed. 

A Tax Expert's Advice 

THERE is one piece of advice I give 
all my clients," Forest W. Monroe told 
us. "When they come to me for income 
tax counsel, I tell them to keep a record of 
all minor expenditures, as well as major 
ones. Too often I have been confronted 
with the question of accounting for a few 
dollars that would save hundreds on the tax 
return. 

" It makes no difference what your occu- 
pation is — keep a good check on small per- 
sonal expenses. Write everything down. It 
will save you money in the long run." 

Richard Dix is the only actor we know 
who has followed Mr. Monroe's advice. Dix 
apparently learned his lesson by bitter ex- 
perience. He ran into trouble with the 
Government last year, concerning his in- 
come tax. The difficulty arose when he 
chose the wrong tax accountant to make his 
returns. Recently, Dix bought the writer 
a cigar and jotted the item down in a little 
red book. Now I know why. 

Dix is not alone in having suffered 
through tax troubles. There have been 
scores of others involved by their blind trust 
in so-called tax accountants. Perhaps the 
most famous case was that concerning 
Charlie Chaplin. Charlie paid nearly a 
million-dollar line. 

Chaplin probably pays more in taxes than 
anyone else in filmland. When the County 
Assessor recently appraised Chaplin's tax- 
able securities, he estimated their value at 
of March 1, 1932. 

Speaking of Chaplin brings to mind an 
extraordinary situation regarding interna- 
tional tax laws. Charlie is an English citi- 
zen, as are Elissa Landi (by marriage), Clive 
Brook, Ronald Colman and George Arliss. 
All must pay, not only an American tax, 
but one in England. This runs as high as 
twenty-five per cent additional. The same 
is true in France (Chevalier's native land) 
and a few other countries. 

I Vrhaps our American stars, in bemoaning 
their own tax rates, can find condolence in 
the misfortune of the visiting French and 
English players. At least, if you are an 
American, only one Government gets it. 



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There's a Wedding 

Ahead for 
Tallulah Bankhead! 

{Continued from page 68) 

listen to one's self expressing it in such words 
that it is hardly recognizable. Miss Bank- 
head must often have had such an experi- 
ence. 

There is only one phase of this number of 
mystery, silence and idealism, according to 
the numerical recordings, genuinely ex- 
pressed by Miss Bankhead. For this num- 
ber is only the symbol of her ' 'Expression." 
Her name contains no g, p or q, which also 
take the value of this number 7. This 
important phase which she manifests is the 
fact of a certain aristocracy. Truly an aris- 
tocrat among numbers is "7." Truly an 
aristocrat among the movie stars is Tallulah 
Bankhead. 

Beyond this important phase, the number 
vibrations reveal her languid flow of move- 
ment and quiet poise to be more or less of a 
stage set. Windows, doors with flowering 
vines about them, all in realistic order; but 
on the other side, not the warmth of feeling, 
the understanding welcome that might be 
expected. Instead, we contact the cool 
ambition to succeed in spite of every 
obstacle, to be personally free, independent 
and achieve the high peak of public success. 
It reminds us again, this inner nature num- 
bered ' '3," of the cool rush of gay, ambitious 
waters that can feel little sympathy for 
humanity standing on the banks, but are 
always willing to give refreshment and 
inspiration, according to a personal ideal of 
beauty. 

Hard Work Ahead of Her 

THE windings of Tallulah 's destiny, as 
mapped out according to the numbers 
of the day, month and year of her birth, 
January 31, 1902, are charted by the num- 
ber ' '8," the symbol of material freedom, of 
health, prosperity and authority. 

This number "8" is built up through the 
numerals "1," "4" and "3" in such a 
fashion as to necessitate a good deal of hard 
work through the middle portion of her life 
from twenty-eight to forty-six. Particularly 
from twenty-eight to thirty-seven, which 
she will be in 1939, this work will continue 
to be in the theatre and upon the screen, and 
her tools will be her definite ambition to 
project her personality and her undoubted 
ability as an actress, which I have already 
shown is due to her "7" Expression. 

Noticing the markings on Tallulah Bank- 
head's path of destiny, which all indicate 
much future success for her, even when 
play-acting has given way to other activities, 
it is worth while to examine the one com- 
mencing with her thirty-seventh year and 
ending with her forty-sixth. This period 
represents a phase of experience when 
Tallulah, the woman, and not Tallulah, the 
actress, will find real self-satisfaction in 
personal happiness — marriage, companion- 
ship, social position, and recognition that 
will measure up to the very definite ambi- 
tions of her inner nature. 

The impersonal, cool aristocrat, no longer 
content with the protecting shade of a pro- 
fessional success, will step out into the 
sunshine to nourish her personal visions of 
beauty and attainment. 

The year of 1931, in the career of Miss 
Bankhead, marked the beginning of a new 
cycle of years which will not end until 1939. 
This promises her bigger and better rdles as 
the possibility of the Fall of 1932, and for 
the year 1933 a temporary return to the 
theatre. There is little clanger of any change 
important enough in her life to dim her 
growing popularity until 1935. 



74 



Lsheasleys Startling Lsode Hook J 

Health, Wealth, Work and Love Revealed % 

AMAZING NEW GUIDE TO NUMEROLOGY 
GIVES QUICK ANSWERS 



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Lee Tracy, Fighting Mad, Kills a Rumor 



(Continued from page 26) 



eight hundred and eighty consecutive perform- 
ances. We closed in ' Broadway,' on a Satur- 
day and on Sunday I started rehearsals 
for 'The Front Page.' I played Hildy John- 
son, the reporter, for the next forty-three 
weeks. Never once in all that time did I miss 
a performance. Where do they get this 
' unreliable' stuff? Do these statistics show 
me up as 'irresponsible'? 

" It's the bunk — this tale about my being 
the answer to the bootleggers' prayer. Sure, 
I drink when I'm not working. But I 
never stepped on a stage 'under the 
influence,' as polite phraseology has it. 

"The studio completed 'Blessed Event' 
in a little over three weeks shooting time. 
Does that sound as if I held them up? I 
was late twice on the set. I can't get used 
to these horrible eight o'clock calls. Imagine 
making a man get up at six or six-thirty and 
expecting him to work! Why, that's the 
middle of night! I don't begin to wake up 
until afternoon. But 'Washington Merry- 
Go- Round,' which I'm just finishing, has 
been on schedule to the minute. 

Another "Ridiculous" Rumor 

SOMEBODY started the report, when I 
was late one morning, that I had 
refused to leave my hotel until the studio 
sent me a case of brandy. Of all the idiotic 
ideas! Where would a studio get a case of 
brandy that was fit to drink? / have a hard 
enough time getting decent brandy — and 
look at all the ropes I am supposed to know. 

"The trouble with me is I'm not a 
hypocrite. If I want to drink, it's my own 
business, so long as it doesn't interfere with 
my work. But if I had had the sense of a 
one-eared jack rabbit, I would have taken 
my highballs behind closed doors with all 
the window shades pulled, following the 
local custom. But no. I have to go places, 
see people and do things when I'm high. 
Drinking solitary isn't any fun. And why 
drink unless you have fun? 

"Perhaps I shouldn't have been so frank 
when I filled out that foolish biographical 
questionnaire a publicity department hand- 
ed me. It's supposed to have something to 
do with getting your name in the papers. 
But it's foolish, and I answered in kind. 
For example, the question: 'What do you 
do to keep fit?' I answered: 'Drink liquor 
and relax.' 

"I've been told since that some of the 
boys took me seriously. In fact, they've 
gone back to that questionnaire to sub- 
stantiate the argument that I drink. The 
argument doesn't need substantiation. I 
admit it. What I'm denying is that drinking 
has ever made me unreliable." 

Although Lee Tracy terms the biography 
"foolish," it reveals many sidelights on the 
man behind the actor. To begin with, it 
gives his birthplace as Atlanta, Georgia 
and the date as April 14, 1898. His father 
was a railroad man and an ardent admirer of 
that gallant Southern general, Robert E. 
Lee, as the first name he gave his son will 
testify. 

Why He Turned Actor 

LEE tried his hand at railroading when 
_, his dad became General Superinten- 
dent of the Lehigh Valley Railroad. He 
gave it up to enroll in medical school and 
in turn abandoned a doctor's career in 
favor of the stage. This was dictated, he 
says, solely by the knowledge that the 
theatre was a source of heavy profits "if 
you clicked." 

Ten years of apprenticeship followed, ten 
years of one-night stands, playing vaude- 
ville, acting with stock companies. " Broad- 
way " was his first individual hit; "Big 



Time" his first picture. In both he played 
"hoofers." Yet cannot dance a step. 

"I was better qualified perhaps," Tracy 
laughs "for the part of Hildy Johnson in 
' The Front Page.' Hildy, as you remember, 
(whisper) drank. I don't know why it is, 
but I have even been criticized for playing 
tipsy roles. A number of newspaper editors 
took me to task for depicting a drunken 
reporter. Maybe they thought there wasn't 
such an animal, just as Hollywood prefers 
to believe me its only intoxicated actor." 

Returning to the biography, we find Lee 
waxing sarcastic in answer to the question, 
"What is your favorite recipe that you, 
yourself, prepare?" He wrote "Bacon and 
eggs," and after the query "Ingredients?" 
repeated "Bacon and eggs." 

His present ambition is, he says, "To 
stay where I am — it's a tough job." He 
denies any artistic yearning besides acting, 
saying "Acting is enough." 

"Why is it," Tracy asks, "that you go 
along for years on the stage without having 
a single questionnaire shoved at you? Then 
you come to Hollywood and around every 
corner lurks a perspiring publicity man, 
pencil in hand, waiting to pounce on his 
prey. I've answered more intimate ques- 
tions than I knew anyone dared to ask. 

"This sort of thing has got me all in a 
dither. Not that I don't like publicity men. 
Some of them are great guys. But they're 
driving me nuts. They make me horribly 
self-conscious. I'm conscious of personal 
prejudices I've had all my life, but never 
thought much about until now. 

How He Gets in "Hot Water" 

ALL these things have been brought to 
. my attention by having to answer 
questions about them. No wonder this is a 
crazy town. Everyone out here knows 
too much about himself. Going Hollywood 
really means going self-conscious. But the 
question I most encounter is 'What are 
your hobbies?' That's easy. Though when 
I answer truthfully, 'Highballs, fishing and 
gambling,' I get in hot water." 

Behind Lee Tracy's devotion to the sport 
of fishing lies the real reason — your pardon, 
Hollywood — why he will not sign a long- 
term studio contract. He tried the contract 
thing once with Fox, found it interfered 
with his fishing and asked for his release. 
When the fish stopped biting, he went back 
to Broadway. 

He was playing in "Louder, Please" 
when Warners signed him up for a single 
picture, "The Strange Love of Molly 
Louvain." Before that was completed, he 
signed for another, "Love Is a Racket." 
Again, while still in production, he was 
offered and accepted another role, this one 
in "Doctor X." Then Jimmy Cagney 
staged his famous walk-out. Warners had 
prepared "Blessed Event" for Cagney and 
overnight recast it for Lee Tracy. There 
was talk at the time of a long-term agree- 
ment, but Tracy preferred fishing. 

Fishing palled and Tracy returned to 
Hollywood to step into the lead of "Night 
Mayor" at Columbia, in which he plays a 
character slightly like Mayor Jimmy Wal- 
ker of New York. He also signed to do 
"Washington Merry-Go-Round " for the 
same company. Meanwhile "Blessed 
Event" was previewed and Hollywood, 
unable to understand why Warners had let 
Tracy slip though their fingers, cast about 
for a reason. "Elbow-bending" was chosen 
as a logical explanation. Anyhow, it 
sounded better than the more prosaic fish- 
ing. Gambling was ruled out when it was 
discovered that Lee's preference was for 
crap-shooting. 



76 



Ruth Marries George and 
Everybody's Happy 



(Continued from page 66) 



'Twas whispered that Ruth found 
Chevalier's fellow-countryman most attrac- 
tive, that their friendship was developing 
into a deep and real understanding. Chat- 
terton had long since stopped keeping up 
the pretense with her real and close friends 
that she and Ralph Forbes ("Rafe," as she 
calls him) were happy. Those who knew 
Ruth best believed that a new and very 
great love had come into her life in the per- 
son of the French actor, Boyer. 

He was a visitor in Hollywood, looking 
over the movie center, being spurred on to 
try his luck in American films by his friend, 
Chevalier. He did, in fact, accept several 
picture engagements, drawing his most im- 
portant role in "The Man from Yester- 
day," with Claudette Colbert and Clive 
Brook. During his first few months in 
Hollywood he was an attentive cavalier to 
the charming Chatterton. Who knows 
where this friendship might have led if 
Charles Boyer had not met Frances Dee, 
the peppy little Paramount ingenue? 

Was Ruth "Heart-Broken"? 

BOYER fell deeply in love with Frances 
Dee almost at first sight. And Frances, 
who has been rumored engaged to so many 
eligible young Hollywood men, is said to 
have turned her first serious attention upon 
young Boyer. From the moment of their 
meeting they were constantly seen together 
at the beaches, the cafes, the theatre and 
movie premieres. The talk about the Boyer- 
Chatterton romance waned in the sudden 
affection that had sprung up between the 
Frenchman and Frances Dee. 

Those who liked their romances highly 
dramatized were of the opinion that Ruth 
Chatterton was " heart-broken." There was 
that story about her journey to Pasadena to 
meet the train of the in-coming Boyer, only 
to learn that he had left the train at San 
Bernadino, where he had been met by 
Frances Dee. When she took a sudden 
"rest trip" to Arrowhead, it was commonly 
supposed by those who liked to believe they 
were "in" on all the details, that she had 
gone there to forget her friendship for Boyer. 
Can you believe this story, that Holly- 
wood likes so well — that Ruth Chatterton 
is an incurable romanticist at heart? They 
say that for years, ever since the first dis- 
illusion in her marriage with Forbes (during 
the year Ralph was a success in Hollywood 
and Ruth was struggling to get started), she 
has been looking for a man to whom she 
would be "the only woman." There is no 
compromise with the modern in Ruth's 
romantic ideals; she does not believe in a 
scattering of affections. Those who have 
enjoyed her confidence claim she is an 
i le of the creed of one woman in a man's 
life. They say she sought that ideal in 
Boyer until little Frances Dee so innocently 
happened along to destroy it by being the 
recipient of Boyer's unmistakable affection. 
Before Boyer left I lolls wood he pleaded 
with Frances Dee to marry him. But 
Prances' contract has many months to run 
and she ua-. not free to accept an offer of 
marriage that would take her from this 
country. 

Temporary Reconciliation 

THERE «as little more talk about Ruth 
Chatterton and Charles Boyer. For a 
while it looked as though Ruth and Ralph 
Forbes might really become reconciled. 
Their persistent "fireside publicity" even- 
tually threw the press off the trail and the 
cry of "trouble brewing" was not again 
taken up until Ruth moved into her 



bungalow dressing-room at the studio. 

This time the romantic rumors linked her 
name with George Brent, her new leading 
man. An amusing sidelight of the gossip at 
that time was that George Brent and Charles 
Boyer were, and are, the best of friends. 
And to add to the complications, it was be- 
lieved that Brent (who had been divorced 
from Helen Campbell in Los Angeles in 
1929), was more or less engaged to Gilda 
Gray, famous shimmy dancer of the New 
York stage. For two years before Brent 
arrived in Hollywood his name had been 
consistently linked with Gilda's. 

And then to Hollywood came Gilda — but 
just in time to read of the pre-divorce en- 
gagement of George Brent and Ruth Chat- 
terton! During her stay (she was making 
personal appearances at a local theatre) 
Gilda was interviewed by a woman reporter. 
She was asked about the Chatterton- Brent 
engagement. It is reported that her only 
answer was a hearty laugh and the mys- 
terious comment: ' 'Well, we live and learn." 

Gilda seemed determined to "laugh it 
off" and certainly she gave no outward 
evidence of a heartbroken woman. She 
managed to get herself rumored engaged to 
two different gentlemen before she took her 
departure. Never, at any time, was there 
any linking of her name with her former 
close friend, George Brent, even during the 
time just preceding the "engagement" 
announcement, before Ruth Chatterton 
reached Europe. There could be no doubt 
but that the Brent-Gilda Gray romance was 
most certainly ' 'cold." 

In fact, Hollywood had begun to rumor 
another romance for George Brent in pretty 
little Loretta Young! It actually took the 
engagement announcement that Chatter- 
ton and George Brent were planning matri- 
mony to make Hollywood realize there 
could have been nothing but friendship 
between Loretta and George. 

Was Loretta Disappointed? 

IN denying "romantic intentions" toward 
Loretta, Brent said: "Hollywood is 
greatly given to rumoring romance if two 
people are even seen in public more than 
twice. Loretta and I frequently lunched and 
dined together, thus putting ourselves in the 
position of being suspected of romantic feel- 
ings toward one another. But, as usual, 
Hollywood was wrong. Our meetings were 
merely business. We were planning to go 
out on a personal appearance together and it 
was necessary to be together a great deal, 
rehearsing the act, and so on." 

Maybe it is because Hollywood doesn't 
like to be so thoroughly fooled that it 
stubbornly clings to the idea that Loretta 
was very fond of George Brent. 

These are the silent angles of the much- 
publici/cd triangle of Ralph I'orlies-Ruth 
Chatterton-George Brent. Surely Holly- 
wood has never known a more ' 'lar-rcw h- 

1 omance. 

The studio has maintained a diplomatic 
silence about the sudden divorce and re- 
marriage of its most prominent Btar. It is 
not known yet whether or not Ruth and 
I ieorge will continue as a screen Irani. It is 
likely. George was taken out of the cast ol 
"20,000 Years in Sing Sing," with Spencer 
Tracy substituted, presumably for the pur- 
pose of George's being available lor Ruth's 
next picture, "The Paris Racket." 

Ruth is thirty-four, according to the 
marriage records; (ieorge is twenty-eight. 
She earns several thousand a week; he eat ns 
a lew hundred. But love, they say, laughs 
at little dilferences like these. 




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Are Foreign Stars Hated in Their 
Own Countries? 



(Continued from page 21) 



among foreign fans that seldom wavers 
even with poor pictures. If they like a 
star, audiences in Europe will attend an 
American talking picture they cannot 
fully understand in preference to locally- 
made films. There are many theatres 
abroad that advertise only star names and 
never mention the vehicle. 

The Orient's Surprise Favorite 

DO you know, for example, who has the 
biggest drawing movie name in China 
and Japan? It isn't Anna May Wong or 
Sessue Hayakawa or any other Oriental 
player. The name in question belongs to a 
director: Cecil B. De Mille. That's all that 
is advertised. His old silent spectacles are 
still showing in Chinese and Japanese 
theatres. This, despite the fact that censor- 
ship in these countries prohibits all kissing 
scenes or scenes in which a man and 
woman, regardless of their marital state, 
appear in a room that contains a bed, let 
alone a bath-tub (De Mille's trade mark). 
The popularity of De Mille films, without 
such sequences, offers a paradox that baffles 
movie producers. The fact remains, never- 
theless, that the director's name, and his 
name alone, assures packed houses in the 
Orient. 

Hollywood producers haven't always 
known what they now know about foreign 
tastes. They learned only by bitter ex- 
perience. When talking pictures first came 
along, the important question was what 
would become of the films' foreign market, 
then about forty per cent of the total gross. 
It was finally decided that the solution lay 
in importing foreign players to make Span- 
ish, French and German versions of Amer- 
ican pictures. A mad hegira to Hollywood 
immediately began. Broken English and 
dialects were heard on every street corner. 
Someone compared the studios to the Tower 
of Babel. 

But foreign audiences turned thumbs 
down on their own countrymen. They made 
it known in no uncertain terms that they 
preferred Mary Pickford, Douglas Fair- 
banks, Gloria Swanson and Janet Gaynor, 
uttering unintelligible English words, to 
lesser-known and less glamourous native 
actors. Even enormously popular European 
stage stars came to grief. Their names 
meant little to movie patrons. Accustomed 
to American technique on the screen, foreign 
audiences greeted with laughter the oxer- 
acting of most of their countrymen who 
ventured to solve Hollywood's problem. 

The Furore Dolores Caused 

THERE were, of course, few such violent 
demonstrations as that which forced 
Dolores Del Rio's picture to close in Mexico 
City recently. But then Mexico has always 
been touchy in regard to its national pride, 
and "The Girl of the Rio" was deemed a 
caricature of its people and customs. 

The film opened with a fanfare of publi- 
city. Dolores made an address over the 
long-distance telephone that was heard by 
the opening-night audience through loud- 
speakers in the theatre. It was a big night 
for all concerned. 

But the newspapers the following day 
unmercifully denounced the picture as 
libelous to Mexican honor. Particularly 
were the performances of Miss Del Rio and 
Leo Carrillo lambasted. Demands were 
made that the negative be publicly burned. 

That day, audiences joined heartily in 
the denunciation. They shouted, hissed and 
booed throughout each showing. Finally, 



the Government stepped in with orders to 
withdraw the picture. Sarto, Mexico's fore- 
most clown, immediately burlesqued the 
matter. In his stage act, he carried on a 
mock telephone conversation with Dolores 
Del Rio in Hollywood. Then he changed to 
an outlandish make-up to imitate Carrillo 
as the bandit. His work was received with 
acclaim that rocked the rafters and, as this 
is written, the burlesque is still a part of his 
act. 

Miss Del Rio is reported very much 
grieved over the affair. She declined, how- 
ever, to make a statement for publication 
other than to say that she could not under- 
stand her unpopularity in her native land. 
A check on box-office records does not show 
that she was ever a tremendous drawing 
card in Mexico. 

Lupe's Film Also Banned 

MORE recently, "The Broken Wing," 
starring Dolores' great rival, Lupe 
Yelez, was similarly banned in Mexico — and 
Lupe, also born in Mexico, was censured for 
her part in it. Curiously enough, Leo 
Carrillo was again the villain of the piece. 
You can imagine, perhaps, how popular he 
must be in the country south of the Rio 
Grande. But their fellow countrymen are 
even more annoyed at Dolores and Lupe — 
for they were born in Mexico. (Carrillo, 
though of Spanish descent, is of old Cali- 
fornia stock.) The Mexican censors, it 
seemed, considered the film derogatory to 
Mexico — though the Central American 
country in the picture was supposed to be a 
mythical one! The studio claims that the 
Mexican Ambassador to this country okayed 
it. 

The touchiness of Mexican and other 
governments about villainies enacted by 
nationalized characters in American films 
has previously caused studios considerable 
concern. One of the first cases on record 
was that of the villain played by Warner 
Oland in "Patricia," the old serial starring 
Irene Castle. Mexico filed official protest 
at Washington. Its bandits, it said, weren't 
that bad. 

Among the more recent instances was the 
Helen Twelvetrees-Ricardo Cortez picture, 
"Her Man," which was severely criticized 
in Cuba. To prevent racial disturbances, 
Hollywood has taken to making most of its 
foreign villains Russian. American movies 
are not distributed in Russia. 

Sojin, the Japanese actor, actually feared 
to return to his own country because of his 
screen villainies. No picture in which he 
appeared was ever shown in Japan or China 
after irate patrons wrecked a Tokio theatre 
in their disapproval of his "dirty work" on 
the screen. Sojin eventually went back to 
Japan, but only after he had appealed to the 
Emperor for protection. It is said he now 
lives quietly in retirement with armed 
guards around his house. 

Hayakawa Received Threats 

SESSUE HAYAKAWA was threatened 
by Oriental secret societies after his 
appearance opposite Fannie Ward in the 
silent version of "The Cheat." Even an 
innocuous Harold Lloyd comedy caused a 
riot in China because of some scenes depict- 
ing a fight Lloyd was supposed to have in 
San Francisco's Chinatown. Lloyd treated 
the China boys too roughly for Chinese 
tastes. National pride, they will have us 
understand, is not to be trifled with. 

Nor will any evidence of the Hollywood 
brand of high-hat be tolerated by fellow 



78 






countrymen. Charlie Chaplin went back 
to England last year a national hero. He 
was nearly mobbed by the cheering popu- 
lace. But Charlie showed his preference for 
hobnobbing with royalty and drove hard 
bargains for the rental of his comedy, " City 
Lights." When he left England, hardly a 
soul bid him farewell. 

Maurice Chevalier, long the idol of 
France, has suffered from adverse publicity 
that accrued when he asked an enormous 
sum for a Paris stage appearance and re- 
fused to appear at a charity affair without 
compensation. The resentment this caused 
led to his being attacked in print and a 
subsequent falling off in box-office receipts. 
The change of attitude toward him in 
France was slight, but nevertheless marked. 
It has not affected his popularity except in 
the French capital. 

George Arliss is not the first gentleman of 
the screen in England, as he is in America. 
The English regard his accent as almost 
American. In fact, Arliss has been cited by 
universities in this country for his pure 
American diction. 

The Most Popular Stars Abroad 

THERE are a number of other players, 
while not unpopular in their own 
countries, who are less popular, compara- 
tively, than in America. This list includes 
the Swedish Nils Asther and Norwegian 
Greta Nissen, the Austrian von Stroheim 
and the Austrian Elissa Landi, who is 
generally believed to be an Englishwoman. 
The exceptions to this rule are led by the 
Mexican Ramon Novarro, who is a smash 
attraction in all Spanish-speaking countries; 
likewise the Spanish Antonio Moreno, who 
has been making Spanish versions; and Jean 
Hersholt of Denmark. 

Ask someone familiar with the foreign 
market for the names of the most universally 
popular stars on the screen to-day. (We'll 
leave Mickey and Minnie Mouse out, this 
time.) The answer may not be what you 
expect. For the fellows who top all Holly- 
wood in international popularity are Laurel 
and Hardy. Laurel is an Englishman; 
Hardy an American. 

This team wows 'em in any language. 
There is a theatre on the main street of 
Vienna that runs nothing but Laurel and 
Hardy comedies, giving four shows a day! 
There hasn't been a change in program for 
months and the S. R. O. sign is always out. 
Charlie Chaplin is afraid he wouldn't have 
an international audience, if he made 
talkies, but Laurel and Hardy constantly 
gain in popularity. 

The kings and emperors of at least three 
countries command private showings of all 
new Laurel and Hardy releases. They are as 
big a hit somewhere East of Suez as they are 
at your neighborhood theatre. South 
America literally cries for their films (which 
have Spanish versions). They are one 
Hollywood team whose profits arc with 
honor in any country. 



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Jean Harlow ami Clark Gable arc 
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Eddie Cantor is writing a biography 
of the laic Florenz Ziegfeld (sec storj 
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Stars Put On a Show for the Olympics 



(Continued from page 25) 



"Tarzan" had been done and packed away 
in the film can long ago, or what — but any- 
way, the studio put on a good show. There 
were the usual calls of "Quiet! . . . Lights! 
. . . Ready, now . . . ACTION!" And not a 
smithereen of film in the camera or a bit 
of sound track anywhere around. 

Even the Barrymores, Ethel, John and 
Lionel, making ' 'Rasputin," took a quota of 
visitors. And took them without an audible 
murmur. 

It all cost the studio thousands of dollars, 
of course, and the stars thousands of feet of 
lost patience and temperamental energy, 
but strangely, very few objected. On the 
contrary, much to the amazement of other 
folks in Hollywood, it soon became evident 
that the picture folks were liking it. 

Acted as They Do on Screen 

WHAT happened was that they became 
inoculated with the ' 'give-'em-a-good- 
show" bug. When the international sig- 
nificance of the Olympics hit their con- 
sciousness, they went international pub- 
licity-conscious. They preened, fluttered, 
swaggered and clowned everywhere they 
went during those three weeks, for fear that 
some rajah from far-away India or visiting 
publisher from Australia might see them. 
They wanted good tales, impressive tales, to 
be carried back home to Europe and South 
America and the Far East. 

One of the gentlemen who seemed to be 
hit the hardest by this bug was Joe E. 
Brown. Joe is a sports fan, anyway, having 
been a circus acrobat and a major-league 
baseball player once upon a time, and the 
Olympics were just up his street. But you 
should have seen him in the grandstand day 
after day. He couldn't sit quietly like other 
folks. He found himself going through facial 
contortions and lots of his clown tricks to 
give folks, who had paid admissions to see 
broad jumps and hurdle races, their money's 
worth also of Joe E. Brown. 

And, one afternoon, I watched Douglas 
Fairbanks make four trips from his promi- 
nently placed box in the center of the stands, 
up through the sections where the foreign 
athletes were sitting. Why four trips, I 
don't know; but every time he passed up the 
aisle, he was mobbed for autographs. 
Cameramen snapped him grinning alongside 
Arthur Jonath, the German runner, and 
other athletes. Doug and Harold Lloyd 
visited the boys at Olympic Village, the 
big, specially-built town for the athletes, 
and did the autograph business up brown. 
They signed everything from the woolen 
underwear of the Finns to the rowing sculls 
of the Frenchmen. 

You may muffle a shout at this, but even 
the esthetic and aloof Josef Von Sternberg 
was not immune to the Olympic personal 
appearance virus. As you may know, it 
takes a regular cataclysm to stop Mr. Von 
Sternberg from working. Only a short time 
ago, some union had to make an awful fuss 
to get their boys home before the wee, small 
hours of the morning. The director wanted 
to keep his company going both day and 
night. 

The Latins Pursued Marlene 

BUT on the occasion of the Olympics, he 
called off shooting on "Blonde Venus," 
for a whole day just to entertain with Mar- 
lene Dietrich, sixty German athletes and 
former German Secretary of State Ewald. 
More than that, when the visitors, prac- 
tically all of whom were amateur photog- 
raphers, pulled their cameras from their 
pockets, he said, "Go right ahead." And 
posed and posed and posed. With a smile. 
A few days previous, too, Marlene had had 



the somewhat unusual experience of being 
actually chased by admiring Argentines. 
She has had her share of adulation in the 
past, has fought her way through premiere 
crowds and has been propelled through 
mobs, almost at the risk of life — but this was 
something new. 

Four of the Argentines, on tour of the 
studio, became missing. A search ensued 
which ended suddenly when Marlene came 
loping around the corner of Stage Two, her 
"bodyguard" behind her and four ardent 
Argentines in hot pursuit. They just liked 
her — she was a beautiful woman. They were 
captured by an agile young publicity man 
and led back to the rest of the party. 

Charlie Farrell and Janet Gaynor took a 
heavier "rap." They took a ride on the 
shoulders of some burly German girls. It 
was after a luncheon at Fox Hills, during 
which all the girl athletes had been intro- 
duced to all the Fox stars. Charlie and Janet 
were standing quietly smiling at the girls, 
when four exuberant frauleins from the 
Rhineland swooped upon the team and 
hoisted them to shoulders. 

Will Rogers was among those present that 
day. He took advantage of the occasion to 
wisecrack with each and every one — or at 
least, so it seemed. To Georgia Coleman, 
champion woman swimmer, he directed the 
question. "Who are you?" 

Georgia beat him at his own game. "I'm 
wet," she answered. 

To Mildred (Babe) Didrikson, girl track 
star, Will said: "You're America's greatest 
woman athlete, aren't you?" 

"Yep," responded Babe, "and I'll chal- 
lenge you to a match in any sport, even 
polo." 

Rogers shook his head sadly. "No, 
Ma'am, you're too tough. I've heard about 
you." 

Sally and Joan Kidded the Finns 

IT was at Fox Hills, a few days previous, 
when Raoul Walsh was host to the Fin- 
nish athletes, that Sally Eilers and Joan Ben- 
nett took it upon themselves to teach the 
Finns how to make a hit with the American 
girls. 

They informed the Finns, Paavo Nurmi 
among them, that three of the most com- 
plimentary phrases to use when meeting an 
American girl were: "Hot cha, clia, cha!" 
and "In your hat!" and ' 'What's it to you?" 
Just how the Finns fared with this equip- 
ment, or whether they used it has not been 
recorded. 

Many stars gave studio parties for visiting 
athletes — and they were parlies, not speech- 
making affairs. Fifi Dorsay, for instance, 
gave one at Monogram for the Canadian 
delegation (more than one hundred strong) 
— Fifi having hailed from Montreal. It was 
just a coincidence, of course, that she was 
playing a Canadian girl in her current pic- 
ture, "The Girl from Calgary." And Billie 
Dove played hostess to the Swiss athletes. 
How did this come about? Billie's parents 
were born in Switzerland. Jean Hersholt 
royally entertained the Danish athletes and 
seemed to be having the time of his life, 
talking Danish again. 

Of course, it is yet a matter of doubt how 
the visiting athletes, the bigwigs from the 
foreign countries, the silk-hatted diplomats, 
the important personages of great European 
and Eastern nations, took the monkey- 
shines of the movie stars. They were ' 'movie 
crazy" long before they went to Hollywood 
— and perhaps the pictures of their cham- 
pion wrestlers taken alongside George Raft, 
for example, doubling up his fist, were to 
them just part of the great movie game. As 
was that of Sally and Joan kidding the 
Finns about American slang. 



80 






Movie Finds Among the Athletes 

AND perhaps they have left behind some 
of their own sterling youth to make 
fortunes and fame in motion pictures, a la 
Johnny Weissmuller, champion swimmer of 
the 1928 Olympic Games at Amsterdam. 
For, at this writing, a number of the Olym- 
pic competitors are being discussed as po- 
tential movie bets. 

For girls, a little lassie from Sweden is 
being seriously considered. I saw her when 
she first walked into Chapman Park hotel — 
Olympic girls' dormitory — and she's a 
honey. Her name is Ingeborg Sjoquist, but 
they could change that. She has a lovely 
figure, a beautiful walk. She is small, with 
natural blonde hair. She has starry eyes 
that seem to be gazing forever at misty, far- 
away points. And her voice is throaty. But 
— she can't speak good English. (Well, 
neither could Garbo.) She's the Swedish 
champion diver. However, the worst handi- 
cap of all is that she's in love with a Swed- 
ish swimmer. 

Then there's Eleanor Holm, New York 
girl whom Ziegfield wanted in the "Follies." 
Although she has trained as a swimmer 
since she was six, she found the chorus 
routine too strenuous and she declined the 
"Follies" job. Paramount and M-G-M are 
both after her. 

There's a little gypsy from Hungary, 
"Baby" von Dany, a woman fencer, who 
has most movie stars all whipped when it 
comes to sex appeal. And there are other 
athletic beauties who were implored to take 
movie tests. 

For men? Well, it has been suggested 
that when the next picture of darkest Africa 
is made, Eddie Tolan and Ralph Metcalfe, 
the two American champion runners, both 
colored, could beat any animal in a race. 

All kidding aside, "Boy" Charlton, a big 
blond from Australia who has good looks 
galore, has been tested. And Patrick 
O'Callaghan, strapping Irish hammer- 
throw champion, is the idol of a lot of movie- 
ites. But he is a doctor, and probably could 
not be persuaded to give up his practice. 
Bill Carr, a Pennsylvania track man, who is 
about the size of Ramon Novarro, is said 
to have chances. John Anderson of Cor- 
nell, better than six feet tall, a blond, is 
looked upon with favor. Albie Booth, the 
"mighty atom" of Yale football fame, went 
out to Los Angeles to play in the exhibition 
football game for the Olympics — and was 
promptly signed for a picture. 

The Movie Stars Made a Hit 

Till", athletes were crazy, for the most 
part, about Hollywood. 

The turbaned East Indians wanted to 
meet Greta Garbo, but, of course, they 
didn't. (She had gone back to Sweden — not 
remaining in Hollywood even to play 
honorary hostess to the Swedish athletes.) 
Yvonne Goddard of France, champion 
European swimmer, confessed to a yen for 
trlie Chaplin. 

The grooms of the Swedish cavalry offi- 
cers only grunted non-committally when I 
mentioned Greta Garbo to them. Bui their 
superiors, t he officers, had lit s when 1 his was 
printed in a local Los Angeles newspaper. 
She is one of our countrywomen of 
course, we love her," was in substance their 
denial of the grooms' attitude. 

There were a few stars who didn't miss a 
single performance. From the opening 
ceremonies, through the track and field 
Raines, the swimming contests, the lights — 
and all t he other activities — they played t he 
roles of enthusiastic spectators. Douglas 
Fairbanks was one of them, Harold Lloyd 
another. Indeed, Harold was so interested 
in the Games that we couldn't mulT the 
chance to get his response. He became very 
serious: 

"I have been watching feats of human 
endurance, of spinal fortitude of super- 




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human achievements and accomplishments, 
that no director would dare inject into a 
story for fear, of being called unrealistic," 
says Harold Lloyd. 

"Tears welled into the eyes of eighty 
thousand persons, as little nineteen year old 
Juan Zabala, staggered across the finish line 
in the marathon and, caught in the arms of a 
friend, feebly waved the Argentine flag. 
Only a few minutes later, they actually cried 
when an unknown little Japanese boy, his 
face a mask of pain, fell within ten feet of 
the finish line. A dozen hands were ready 
to help him, but to have done so would have 
disqualified him. Blind from his struggle 
of 26 miles, veins pounding, almost deaf to 
the imploring shouts of the grandstand we 
saw the boy force himself to his feet for 
those last terrible ten feet, which required 
more human endurance than the previous 
twenty-six miles. There were eight men 
across the line ahead of him, but that meant 
nothing to the little Japanese. He had ful- 
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was a slant-eyed Greek hero." Harold 
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said, 

"What if the United States did carry off 
the lion's share of the honors? It was grand 
from the American point of view. But 
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displayed by the boys from almost every 
civilized nation on the globe. It was the 
spirit that pervaded the games. There never 
was a day that some hero was not developed 
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world's record, that he beat the crack 
athletes of the world, but a hero because he 
did not know what the word quit meant ! 

"We can all be mighty proud that it was 
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so well. And so, I suppose, no wonder the 
stars went the limit. But, o-oh, the money 
and time it cost! And, the over-time 
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45 at one 
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126 at one 
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Number of feet of 
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glimpse of how 
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1,500 during 
Elks' 
Conven- 
tion in 
1930 


25,000 ft. 


Number of public- 
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with visiting ce- 
lebrities 


440 during 
Coolidge 
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tones, perfectly blended into one. There is a mysterious 
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actually color that is your very own ! 

Duo-Tone Ends "One Shade" Choice. The Duo-Tone 
secret makes an entirely new art of choosing rouge. Any 
one of the eight Princess Pat shades will perfectly harmon- 
ize with your type, no matter what that type W. Do you 
realize what this means . . . that you may perfectly follow 
the fashion of using the correct rouge shade 
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look as you desire to feel. If for any reason 
you desire to possess brilliant, sparkling 



Prlncm Pat Lip Rouge n nnr teruatltm — nothing 
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beauty, use one of the more intense Princess Pat shades. 
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A MAKE-UP KIT FOR ONLY 10c 

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IN CANADA, '.>•'! i M lilt ill .■. I li i i l, i <i il ON TO 






Switch to f^ainels 



Never parched or toasted 



A BLEND of choice Turkish and 
■*- *• mild, sun -ripened Domestic to- 
baccos — Camels are never parched or 
toasted. Made fresh and kept fresh in 
the Camel Humidor Pack, Camels are 
mild and cool-burning. If you haven't 
smoked a fresh cigarette lately, switch 
to Camels for just one day, then leave 
them — if you can. 

R.J.REYNOLDS TOBACCO COMPANY 
Winston -Salem, N. C. 




c 



AM ELS 

Made IKISII-fc.;^ FRESH 



Don 7 remove the Camel Humidor Pack — /'/ is protection against perfume 

and powder odors, dust and germs. Buy Camels by the carton for home or 

office. The Humidor Pack keeps Camels fresh 



c 1932, R. i. Reynolds Tobaccu Company 




OVE 




CENTS 



NOVEMBER 



AN 



.3k 






STARS 

INVENT A 
NEW KIND OF 

DIVORCE! 



J 






f &: 



f 



Sylvia 
Sidney 



-<&/v£* 




1 xf 



SfcV^l 



The Soap that Keeps 
Beautiful Women Beautiful! 




THE 



Thrilling as Camay'' s new wrapper is, to look upon — after all, the soap's the thing! 

It is Camay, itself, that is so vital to the beauty of your skin. 

A gentler, safer soap than Camay has never been made} 



Camay's rich creamy whiteness and gen- 
tle lather testify to its purity. Its creamy 
lather is a caress to your face — a kiss upon 
your cheek. Its daily use is a daily pleasure. 
And if you will use Camay regularly, you 
will see your skin glow with fresh beauty. 

The first rule of loveliness is to keep 
your skin deeply clean. Camay removes 
damaging dirt and oiliness in a flash. It 
leaves your skin soft and smooth and 
flower-like . . . gives your complexion 
that lovely natural look. 

That is why so many, many lovely 
women prefer Camay to all other beauty 



soaps . . . why Camay is The Soap of 
Beautiful Women." 



HERE'S LUCK 



• NEW LOW PRICE 



Camay is proving the sensation of the 
beauty soap world. For never in your 
lifetime has such a fine soap, so beauti- 
fully wrapped, so delicately perfumed, 
sold for so low a price ! 

Buy Camay today, and let its gentle, 
luxuriant lather work its wonders on 
your skin. The new price of Camay is 
so amazingly low that you will want to get 

a dozen CakeS. Copr. 1932. Procter & Gamble Co. 



Camay, the Soap of Beautiful 
Women, has a brand new dress, 
striking in design, gay with new 
colors ! The soft greens and yellows 
bring out to your eye the beautiful 
creamy-whiteness of Camay itself 
• • • adding an aesthetic thrill to the 
pleasure of using this finest, gentlest, 
most luxurious of beauty soaps! 




-h In the Beauty Contest of life, the 
woman with lovely skin has an advan- 
tage. For the eyes of all who look upon 
her appraise her charms, and a fine skin 
is a powerful ally. Try Camay today! 




"fc Here's the simple, effective way to 
improve your complexion. Lather your 
face and neck with creams-white Camay, 
a soft cloth and warm wafer. Rinse with 
cold water. Now your skin is fresh again! 



CAMAY 

THE SOAP OF 
BEAUTIFUL WOMEN 




IET her exercise her wits on contract all 
j she wants to! But if she wants to be 
attractive when she smiles and talks, it 
would pay her to spend a few seconds a 
clay exercising her pjonsl 

People get a mighty good close-up of 
your teeth at the bridge table! How about 
your teeth and gums? If you have flabby, 
sickly gums— if you have "pink tooth 
brush" — watch out ! Before long, you may 
he ashamed to smile! 



Modern foods are too soft to exercise 
the gums properly. And when your gums 
become soft and tender, you're likely to 
find "pink" on your tooth brush pretty 
regularly. 

Do you realize that " pink tooth brush" 
robs the teeth of their natural polish?— 
that it opens the way for gum troubles as 
serious as gingivitis, Vincent's disease, 
and even pyorrhea?— that it endangers 
sound teeth? 

Do this: Clean your teeth with Ipana 




Tooth Paste. But each time, rub a little 
extra Ipana right into those unheal thy 
gums of yours. The ziratol in Ipana, with 
the massage, sends fresh blood speeding 
through the gums, and helps to firm them 
back to health. 

Start in today with this Ipana regime. 
Your teeth will be so much whiter and 
brighter! And if you'll keep using Ipana 
with massage, you won't have to give a 
thought to "pink tooth brush." You'll 
be rid of it! 

BRISTOL-MYERS CO., Dcpi. H-112 
73 West Strecc, New York, N. Y. 

Kindly send me a trial tube of IPANA TOOTH 
PASTE. Enclosed is a two-cent stamp to cove i partly 
the cost of packing and mailing. » 



Name . 
Stmt . 



City. 



.Stalt. 



IPANA 



TOOTH PASTE 



A GOOD TOOTH PASTE, LIKE A GOOD DENTIST, IS NEVER A LUXURY 







HELEN HAYES 



A FAREWELL 



WITH 



ADOLPHE MENJOU 

A FRANK BORZAGE PRODUCTION 

Adopted to the screen from Ernest 
Hemingway's Famous Novel by Laurence 
Stallings (Co-Author of "What Price Glory") 

Into the giant tapestry of 
a world in pain is woven 
the most tumultuous and 
passionate romance yet 
written or screened. The 
mad mating of souls lost 
for love's sake, to the thun- 
derous roaring of guns . . . 

Cparamouni $1| Cpidurei 

*-"^ paramouot ruBLix corporation, adoiphzukor. *-<^phes.. Paramount bldc . new vork 




©C1B 



\'t&' 



w* 



\J 12 $32 THE TABLOID MAGAZINE OF THE SCREEN 



VOL. 3 No. 3 

cv 



Movie Classic 



=r$vO= 



NOVEMBER, 1932 

^ ^C? 




Tragedy 
Descends on 

JEAN 
HARLOW 



Twenty-one years old and a bride 
of only two months, Jean has 
just passed through a more tragic 
experience than any other screen 
star has ever known. Her hus- 
band, Paul Bern — one of the 
most brilliant and popular men 
in Hollywood — took his own 
life, without any warning, with- 
out revealing any motive for his 
act. 

The girl whose platinum blonde 
beauty had made her world- 
famous — the bride who had 
been so happy — collapsed. She 
was hysterical with grief. She 
could not believe that this had 
happened to her —that Paul, who 
loved her, had gone. Why did 
he do it? 

That mystery may never be 
solved. But you will read in 
this issue that it is within YOUR 
power to solve the mystery: 
what does the future hold for 
Jean Harlow? 



CO- 



FEATURE ARTICLES 

Bill Powell Talks About His Wife Elisabeth Goldbeck 15 

Jean Harlow — Tortured by Tragedy Dorothy Calhoun 16 

Ex-Ladies' Man— That's Joel McCrea! Betty Willis 21 

Stars Invent a New Kind of Divorce Nancy Pryor 22 

Hollywood Votes for the First Time Helen Louise Walker 24 

You Can't Always Copy A Movie Star Barbara Foss 26 

Little Caesar Tosses Some Verbal Bombs — Edward G. Robinson Gladys Hall 41 

The Headline History of Chaplin, 191 8-1932 Muriel Babcock 42 

George Raft Won't Look At Girls Who Don't Wear Make-Up . . Helen Louise Walker 44 

George Brenfs Irish Luck Is Just Beginning! Clifford W. Cheasley 51 

John Boles Gives Some Tips to Young Married Couples Terrence Costello 52 

MOVIE CLASSIC TABLOID NEWS SECTION 

Few Olympic Athletes Receive Movie Offers Evelyn Derr 28 

Mrs. Jolson Enters Films— Al Not Afraid He Will Lose Her Sonia Lee 29 

Swanson Lawyer Insists Luxuries Are "Necessary" Janet Burden 30 

Claudette Colbert Jakes Bath In Milk for DeMille Picture Dorothy Donnell 31 

Keaton Buys "Land Yacht" As Big Joke Doris Janeway 32 

Rudy Vallee's Wife Changes Her Mind About That Divorce Madge Tennant 33 

Married? Bette Davis and Joan Blondell Won't Say Yes or No!. . . .Joan Standish 34 

PICTORIAL FEATURES 



Carole Lombard 35 

A ay Francis 36 

Loretta Young 37 

Myrna hoy, John Barrymore, Johnny 

Weissmuller, Lupe Velez 38 

Nancy Carroll 39 

Spencer Tracy 40 



Constance Bennett 45 

Clark Gable 46 

Tallulah Bankhead, Robert Montgomery . . . 47 

Lynn Browning, June Clyde 48 

Aline Mai Motion 49 

( diaries Farrell 50 



MOVIE CLASSIC'S DEPARTMENTS 

Between Ourselves Larry Reid 

Movie Classic's Letter Page 

Strictly Personal Mark Dowling 

Our Hollywood Neighbors — Close-Ups Stacy Kent 

Taking in the Talkies — Reviews Larry Reid 

Looking Them Over— Hollywood Gossip Dorothy Manners 



10 
11 
12 
18 



COVER DRAWING OF SYLVIA SIDNEY BY MARLAND STONE 



W^= 



T^O 



DOROTHY CALHOUN, Wtrttm Editor 



STANLEY V. GIBSON, Publisher 

LAURENCE REID, Editor 



HERMAN SCHOPPE, Art Director 



Movie Classic is published monthly al 350 E. 22nd St.. Chicago, III., by Mono-. I'm n iri PUBLICATIONS, Inc. Entered as second class matter July 29. iv 

llinois, under the \ct of March 3, 1879; printed m I'. ,v i. Editorial and Executive Offices, Paramount Building, 15m Broadwi » 1 tty, \ . 1 . 

2 by Motion Pi< runs Publk \ iions. ike. Single copy t"f. Subscriptions for and \iexici or, < anada t, 

ries, $2. so. European Agents. Atlas Publishing Company. 18 Bride I. mi'. London, I ■■. c . t. Stanley V. Cibsi ».'. President and Publisher, William s. Venn, Vice 

President, l\nt>rn I: Canfield, Secretary-Treasurer, 



MOVIE CLASSIC comes out on the 10th of every Month 




KNOW 

THIS 

SECRET 





Since the days of ancient Egypt, it has teen 
known that woman's most effective beauty is 
in her eyes. Not their color — not their size 
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...Stale. 



Between Ourselves 



FOR "The Sign of the Cross," his first 
spectacle in sound, Cecil B. De Mille 
had a budget of $685,000 and gave work 
to more than one-third of Hollywood's 
fourteen thousand "extras." And that, 
as they say in the Schools of Journalism, 
is news. It's a rarity, these days, when a 
picture draws a half-million at the box 
office. That makes it look like insanity 
for a movie company to spend more than 
a half-million in making a picture. But 
hold on! — don't call the little red wagon 
for the producers yet. There may be 
method in their madness. 

IF you're still going to the movies since 
the government slapped a tax on 
movie tickets, maybe you've noticed 
that you don't have to stand in line so 
long. Maybe you've even noticed the 
manager standing in the lobby, wringing 
his mitts, because you don't have to 
wait at all for a seat. The tax may have 
had something to do with it. (It's a good 
old American custom to blame taxes for a 
lot of our evils.) But even before the 
well-known depression, theatres didn't 
have to have guards to keep the crowds 
in check. The reason must have been 
something else besides taxes. (The 
Hollywood boys figured that out all by 
themselves.) Could the public be staying 
away because pictures haven't been BIG 
enough? It's more than a possibility; it's 
a probability. And the producers are 
going to do something about it. 

THEY have started already. I told 
you here, several months ago, that 
they were trading players back and forth 
to bolster up casts, and to get the right 
people in the right picture. They have 
even started to buy stories - that mean 
something — stories that stand a chance 
of being remembered. Maybe you've 
noticed the effects of these revolutionary 
tactics already. 

J'VE just given myself a test, to see how 
many recent pictures worth seeing 
come to mind in ten minutes. There are 
twenty-five on my list. There wouldn't 
have been that many there last year. 
Maybe you would subtract some, or add 
others. But these twenty-five, to this 
typical moviegoer, are pictures I'm glad 
I didn't miss. Each one gave me some- 
thing to remember it by. Just for amuse- 
ment's sake (you aren't doing anything 
for the next ten minutes, are you?) give 
yourself the same test, and then check 
with me. This is my list: 

"Grand Hotel," "Strange Interlude," 
"Movie Crazy," "Scarface," "Shanghai 
Express," "Bring 'Em Back Alive," 
"Congorilla," "The Last Mile," "The 
Dark Horse," "Life Begins," "Love Me 
Tonight," "The Washington Masquer- 
ade," "The Doomed Battalion," "What 
Price Hollywood?", "Back Street," 
"Blessed Event," "The Man Who 
Played God," " 70,000 Witnesses," "Lady 
and Gent," "American Madness," "Mr. 
Robinson Crusoe," "Crooner," "The 
Mouthpiece," "Arrowsmith" and "Once 
in a Lifetime." 



CHECKING them over, I find every 
■ big studio represented on that list — ■ 
which must mean something or other. 
Perhaps it means that competition is 
getting keener. Perhaps they're getting 
ready to try to outdo each other, not to 
watch what the other fellow is doing. 
It's an old hope of mine — a hope that is 
wearing long gray whiskers and is reduced 
to rags — but nevertheless a hope that 
still exists. 

AND there is some reason to believe 
- that the millenium is at hand, and 
pictures ARE going to become bigger 
and better. Cast your eye over the 
following stories scheduled on the new 
season's programs of the big studios: 

From Columbia you may expect: 
"Washington Merry-Go-Round," "Brief 
Moment," and "The Bitter Tea of 
General Yen." From Fox: "State Fair," 
"Tess of the Storm Country," "Caval- 
cade," "Call Her Savage." From M-G- 
M: "The Barretts of Wimpole Street," 
"The White Sister," "Reunion in 
Vienna," "The Good Earth," " Rasputin," 
"Payment Deferred." From Paramount: 
"A Farewell to Arms," "The Big Broad- 
cast," "Lives of a Bengal Lancer," 
"The Sign of the Cross," "The Island of 
Lost Souls," "What Every Woman 
Knows," "Madison Square Garden," 
"Madame Butterfly." From RKO: "The 
Moon and Sixpence," "The Sun Also 
Rises," "The Conquerors," "Sweepings." 
From United Artists: "Rain," "I Have 
Been Faithful," "The New Yorker," 
"The Kid from Spain." From Universal: 
"The Old Dark House," "The Invisible 
Man," "The Road Back," "Nagana," 
"Laughing Boy." From Warners — First 
National: "The Match King," "20,000 
Years in Sing Sing," "Forty-Second 
Street," "I Am a Fugitive," "The 
Miracle," "The Machine," "Parachute," 
"Silver Dollar." 

NOT every one of those pictures will 
cost $685,000 or employ forty-five 
hundred people. But they are all sched- 
uled to be BIG pictures — pictures that 
producers, scenario and dialogue writers, 
directors and players are making with 
care and ambition. Count them up — 
there are forty-two pictures on the list. 
Others besides these will turn out to be 
worth seeing. But these forty-two are 
the pictures that studios are promising 
will be out of the ordinary. They're not 
only outdoing each other; they're out- 
doing themselves to pull you back to 
your favorite movie theatre. 

ONE thing that 1932 has been out- 
standing for, in a movie way, is 
the manner in which Hollywood has pro- 
gressed in putting subtle humor across. 
There still are some rough edges that need 
filing — but the producers are beginning 
to give audiences credit for some in- 
telligence and feeding them comedy fare 
that they have to be on the alert to catch. 
Satire, in other words. 

"The Dark Horse" kidded politics as 
{Continued- on page 82) 



UNIVERSAL , 
rCORK AGAIN/ 

J CARIDEO 




J— /ast year it was " The Spirit of 
Notre Dame"— this fall UNIVERSAL 
beats this fine gridiron drama with one 
more thrilling, more human and more 
spectacular. Not only the entire ALL 
AMERICA team of 1931 but a score of 
other "All Americans" of previous 
years and THE ALL AMERICA BOARD 
of Football. 

Never before such a cast in such a mile-a- 
minute football play. The Greatest Gridiron 
STARS in History! They never played together 
in college but they give you the greatest foot- 
ball game of the year on the screen — all in 
closeup — at your favorite theatre. 

Directed by RUSSELL MACK 

Presented by CARL LAEMMLE 

Produced by CARL LAEMMLE, JR 

APPROVED BY TMK ALL AMERICA HOARD OK FOOTBALL 



PINCKERT 
u.s.c. 



ALABAMA 



uNivdlAi cur. Calmoinia Carl L'armmlv 730 huh avinui .jew vo«« 



Cmrl Laemmlv 
Prvsiilvnl 



"I 




\N/'re me 
at the HOTEL 
FORT SHELBY 

... is a doubly significant 
remark. Certainly it's final 
instructions to the office 
. . . but the staff remember 
that the boss has stopped 
at the Fort Shelby since 
his initial visit to Detroit. 
4 Hotel Fort Shelby's pre- 
ferred location . . . inviting 
lobby . . . beautiful, com- 
modious rooms . . . superb 
restaurants and attractive 
rates are a few reasons 
why the major percentage 
of its patronage repre- 
sents repeat business. 
A 900 units ... all equip- 
ped with servidor and 
private bath. Rooms as 
low as $3.00 per day . . . 
suites $10.00 and upwards. 

Motorists are relieved 
of their automobiles 
at the door without 
service charge. Write 
for free road map, and 
your copy of "Aglow 
with Friendliness," 
our unique and 
fascinating magazine. 





E. J. BRADWELL, Manager 

DETROIT 
AGLOW WITH FRIENDLINESS " 



MovieHCIass ■ c's 
Lett er%w age 



$20.00 Letter 

American Productions Show 
Progress 

I THINK it is high time that foreign 
movie critics, who sneer at the "vapid," 
"melodramatic" and "oversexed pictures" 
they accuse us of demanding, take a reef in 
their sails and consider facts. 

Of course, America has produced its share 
of inane flops but — and this is a very BIG 
BUT — it has also created an unequalled 
number of epochal pictures that foreign 
producers cannot even passably imitate. 

America first produced those stupendous 
historical pageants: "The Ten Command- 
ments"; "The Covered Wagon"; and later, 
"Cimarron." And no fair-minded observer 
can deny that there is a progressive ten- 
dency to draft the finest actors of the 
theatre to the screen, and to discount pul- 
chritude in favor of genuine ability to act. 
Take such famous stars as the three Barry- 
mores, Marie Dressier, Alison Skipworth 
and Lowell Sherman, for instance. 

The very fact that producers are aspiring 
to a higher standard of plays has auto- 
matically required that they raise their 
standard for acting. Let's forget the stupid 
boudoir-for-bed's-sake abominations that 
we are forced to endure now and then, and 
say bravo for such productions as "Anna 
Christie"; "Grand Hotel" and "Strange 
Interlude." 

The American public received these pic- 
tures with a genuine enthusiasm that 
should encourage producers. We're not so 
dumb after all! 

Barry W. Neill, Seattle, Wash. 

$10.00 Letter 
Blondie's A Gloom-Chaser 

IS there any real reason for Depression 
when such a picture as "Blondie of the 
Follies" is turned loose on the public? 

Marion Davies knocks every atom of de- 
pression into a cocked hat as "Blondie" and 
don't forget that Billie Dove was good once. 
She proves it in this picture — she is better 
than ever NOW. And she just about takes 
honor for honor as Blondie's best girl 
friend. Maybe it was a secondary part — 
but it came near being first. 

The merits of the picture were not in the 
least harmed by the presence of Zasu Pitts 
and James Gleason. Neither tried for any 
honors, but they grabbed plenty. Zasu 
wasn't permitted to open her mouth by the 
audience, they yelped 
with glee the moment 
she walked into the 
scene and that was 
that! Jimmie takes a 
GRAND father part, 
I mean Blondie's Dad- 
dy. And Jimmy Dur- 
ante's take-off of John 
Barrymore was classic. 

If anyone is suffer- 
ing from depression — 
let them see Blondie 
as a gloom chaser. I'll 
pay their admission if 
not satisfied! Fair? 
Mrs. J. D. Tousley, 
Joplin, Mo. 



$5.00 Letter 
A Grand Picture 

FROM the time we heard the words, 
"Grand Hotel, people come and people 
go and nothing ever happens!" we sat spell- 
bound, until a repetition of these words 
penetrated our inner consciousness, bring- 
ing this gripping drama to a conclusion, 
when we returned to earth and a realization 
that we were in a mere theatre and not par- 
ticipants in the gay, sad, humorous, luxu- 
rious and fascinating life of a great hotel. 

Amid the rapidly changing scenes, we 
were at one moment enthralled with the 
powerful love scenes between the inimitable 
Barrymore and the divine Garbo, and then 
suddenly convulsed with the antics of the 
irrepressible Lionel Barrymore, sometimes 
a truly pathetic figure and at other times 
laughter-provoking, with Joan Crawford as 
intriguing as ever and with Wallace Beery 
powerful as the bombastic financier. 

We scaled the heights and plumbed the 
depths with such rapidity that when "THE 
END" came, we were breathless, speechless 
— transfixed with wonder and amazement — 
a truly great drama. 

Donna H. Culp, Toronto, Ont. 

Those Misleading Titles 

W HAT'S to bedone about the misleading 
title? And isn't our erstwhile cinema 
judge, the honorable Mr. Hays, in one posi- 
tion or another to put a ban on said titles 
that are so very much out of order? 

A flock of poor bleating sheep led to the 
slaughter house under a ruse thru one form 
or another to have them gather in happily, 
is nothing compared to those gleaming 
pseudos beckoning us movie fans to enter 
and kill an entire evening. 

When an article is sold to the public and 
misrepresented, it becomes a violation of 
the law, punishable by fines, etc., yet when 
a picture is sold to us thru a fancy, fire- 
eating, breath-taking title and turns out to 
be a sordid contrast, leaving us with a sour 
taste and far from our remotest guess of 
expectation, what do we do about it? You 
guessed it, nothing! We swallow hook, line 
and sinker, passing it off as a total loss. 

As an example of what I am referring to, 
see "Million Dollar Legs" and if that doesn't 
prove my point, with emphasis to boot, I'll 
eat the whole dern tootin' roll of celluloid, 
and I assure you that I have never included 
that in my breakfast food. 

Henry H. Kaplan, Tulsa, Okla. 



Become a Critic — Give Your 
Opinion — Win a Prize 

Here's your chance to tell the 
movie world — through Movie 
Classic — what phase of the movies 
most interests you. Advance your 
ideas, your appreciations, your 
criticisms of the pictures and play- 
ers. Try to keep within 200 words. 
Sign your full name and address. 
We will use initials if requested. 
Address Letter Page, Movie Clas- 
sic, 1501 Broadway, New York City. 



You'll Like 
Laughton 

E<LE most of my 
sex, I can appre- 
ciate handsome men. 
I admire the Neil 
Hamiltons and Barry 
Nortons of the screen, 
because they're very 
pleasing to look upon. 
But I like the Leslie 
Howards just as well, 
if not better. Both 
classes can act, but the 
latter has to have 
(.Continued on page 79) 



Lsheasleys Startling Lsode Hook f 

Health, Wealth, Work and Love Revealed 

AMAZING NEW GUIDE TO NUMEROLOGY 
GIVES QUICK ANSWERS 



Forecasting Formula 
Shows Way 

IS my husband the right man for me? 
Can I get better luck, as others have 
done, by changing my name? What is in 
store for me this year? Should I change 
my job? — Start a new business? Marry 
my "boy friend"? . . . How can I find 
my way to more money? 

Here, in this amazing new Cheasley 
book are your answers — your Guide to 
better things. Here you may discover the 
things to do and not to do; when to 
act and when not to, in order to get 
the things you want — according to the 
Science of Numerology. 

Future of Celebrities Forecast 

Month by month you have read in 
Motion Picture Magazine about the 
future that lay ahead of your favorite 
Stars. Now YOU may have the Secret 
Key — the Code Book — of The Great 
Cheasley . . . the very same Guide he 
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9 



Strictly Personal 



Movie Classic's Intimate Sketches 
Of Who's Who In Hollywood 



By MARK DOWLING 




CLARK GABLE: Six feet one. Weighs 190. 
The other day he bought a Beverly Hills estate 
— just like any other suddenly successful man — 
and has taken up polo. Affects turtle-neck 
sweaters and looks more like a broker or a drum- 
mer than a movie actor. Used to worry terribly 
over the idea that half the women in the world 
were crazy about him, but finally got used to it. 
Modestly he will tell you, "I just happened to 
have something. I don't know what it is." 




BETTE DAVIS: Dashing young modern who 
lives down Malibu way fifteen minutes from the 
nearest telephone. Refers to herself as "Davis" 
and says she isn't the carousing type. Extremely 
muscular — doesn't look it — and dislikes fellows 
who look at her with That Gleam in their eyes. 
Qualified as a life guard before coming to Holly- 
wood. Loves to wear pajamas. Tootsies highly 
polished. Just got married to the boy-friend 
from Back Home. . . . 



IRENE DUNNE: Brunette with a "bred in old 
Kentucky" manner. She's one of our nicest girls 
but is particularly fond of pictures of herself as 
Cleopatra, wearing a few beads. Also likes 
musical comedies and eating ice cream in bed. 
Don't spend fifteen minutes dating her over the \ 
telephone or wear button shoes or debate com- 
panionate marriage. She doesn't respond. Is a 
mean golfer and once made a hole in one. Rubs 
cucumbers on her face as a beauty lotion. 




JOEL McCREA: Six feet two. Weighs 180. Our 
handsomest youngster. Tallulah Bankhead is 
reported to be the latest of the local femmes to 
try to interest him. Others were Gloria Swanson, 
Constance Bennett, and Dorothy Mackaill. But 
Joel has a hermit complex and spends his week- 
ends camping out on the beach — all by himself. 
The bronzed beach-hero type, he likes to take 
off his shirt in public and display his brawny 
build. Claims he has never been in love. 





TALA BIRELL: Blonde with a brunette person- 
ality. Quiet and mysterious, but she snaffled 
Hollywood's only genuine Prince in months 
right under the noses of the peppier damsels. 
We mean Prince Lichtenstein. Her nickname is 
"Talusha" but don't call her that till you've 
known her a few years. Strong points: dignity 
and reserve. But has an unexpected sense of 
humor and thinks her own mistakes in English 
are funny. Some day Garbo may envy her. 




DOUGLAS FAIRBANKS, SR: Five feet ten 
inches. Weighs 145 lbs. to 150 lbs. Just returned 
from a South Sea trip but left immediately for 
the Gobi desert. Seems to regard Douglas Fair- 
banks Sr. as a permanent institution. Maybe 
he's right. If you visit Pickfair don't be surprised 
to find him leaping over railings or swinging frOm 
a chandelier. Favorite rest spot at home is a 
barber's chair. Takes cat naps. Awakes re- 
juvenated. Looks as jaunty as ever and as fit. 



DICK POWELL: Six feet. Weighs 172. Red 
hair — but not too red. Blue eyes. Greets you 
like a confirmed Master of Ceremonies (he used to 
be one) and suffers from an overdose of boyish 
charm. Arrived in town by plane to make pic- 
tures, but waited three weeks to start work. Would 
be a handy fellow to have around the house, 
since he plays bridge and can do odd chores. 
Plays golf and any sort of musical instrument. 
Says he's still a country boy at heart. 




LILYAN TASHMAN: She wears a jacket made 
of straw and ahat that looks like a soup plate, but 
naive natives bung their eyes out and call her our 
Best-Dressed Woman. Knows all the New York 
slang and is responsible for the crack that Holly- 
wood grandeur depends on wires, black velvet 
and mirrors. Must have taken it seriously, for 
she has just redecorated the lower floor of the 
Beverly shack completely with reflecting glass. 
They say she changes clothes twenty times a day. 





NEIL HAMILTON : Six feet. Weighs 145. He 
also Got Tired of It All and went up to the hills 
to live like a hermit. Had neither sheets nor 
pillow cases but did bring along a bottle of excel- 
ent wine — and saw to it that photographers knew 
the way to his retreat. Our most dignified leading 
man, his amateur magician talent sometimes gets 
the best of him and he'll pull rabbits out of the 
hat. His hobby is raising rare orchids. Hechanges 
his underwear three times a day. 






DOROTHY WILSON: Her studio will tell you 
she has the body of a Polynesian and the mind 
of a Boston schoolteacher, but Dorothy looks 
Anglo-Saxon, comes from Minneapolis, and hates 
carrots and overshoes. Still pretty breathless 
about the overnight change from R K stenog 
to movie star. College boys need not apply. Dot 
likes 'em mature. Not the sort of gal who would 
pull up her stockings in public. Chief ambitions: 
to own a black pearl ring and go to Tahiti. 



ANITA PAGE: Cuddly blonde with curves, 
dimples, and come-hither eyes, and they say she 
numbers lawyers, doctors, and even a minister 
among her beaux. College boys love her, but 
they shouldn't be frightened when she uses long 
words and talks about commercial art. She's 
intelligent about both. Startled 'em further by 
refusing to smoke or drink, but gets fighting mad 
if you call her a "nice girl." Her father and 
mother are named Pomares. 




DONALD COOK: Five feet eleven. Weighs 150. 
We suspect him of being secretly engaged to 
Evalyn Knapp. Writes his mother every day 
and likes to cook. Would make a good husband 
for any girl. His chief annoyance is having his 
hair marcelled for pictures. On the other hand, 
he enjoys giving himself olive oil shampoos and 
wears a beret. Used to sell magazine subscrip- 
tions, but now people answer the doorbell when 
he calls. Has a fondness for pink shirts. 




10 




Our Hollywood 

EIGHBORS 



GOINGS-ON AMONG THE PLAYERS 



B 



STACY KENT 



STRANGE, tragic, unthinkable that Paul Bern, "the audience jittering to itself. The Hepburn lady will be 

friend in need" of so many Hollywood people, should compared to Garbo for the pretty good reason that she 

be dead. News of his suicide cast a pall of sorrow over the makes you think of Garbo — but, nevertheless, she is very 

whole movie town. much a definite and unique personality, herself. She 

No one ever went to Paul Bern for help or sympathy thought she was a flop in pictures and was preparing to 

and came away without receiving it. It was Paul who return to New York, when RKO-Radio executives, after 



stood by Barbara La 
Marr during her last 
tragic days. It was Paul 
who escorted the fading 
motion picture star to 
parties where she would 
meet prominent execu- 
tives again. Once he 
heard that an actress 
was despondent because 
jobs did not seem to 
come her way. He 
didn't know her, but he 
sent her flowers every 
day — just to cheer her 
up. And it was Paul who 
helped Lew Ayres to get 
his first screen break. 

He loved good music, 
fine art, and his pictures 
always evidenced his in- 
telligence and culture. 
Hollywood will miss him, 
and Jean Harlow, his 
bride of two months, 
will miss him very much. 

Poor Jean! So sensa- 
tional in appearance, 
with her platinum hair 
and beautiful figure. It 
seems that her life must 
also be sensational — and 
tragic. 



JUST about once in a 
blue moon a new and 
amazing personality 
flickers across the screens 
of this world. It would 

be nice to say that the movie producers know that they 
have sensational discoveries from the moment they set 
eyes on the new candidate for fame — but that would be a 
|ong way from the truth. M-G-M, for instance, thought 
it had an awful white elephant on its hands in Greta 
Garbo. Then came "The Torrent," and Garbo belonged 
to history. 

I wo new personalities of the year promise to zoom up 
to the lofty pinnacles of fame. Katherine Hepburn, who 
makes her debut in "Bill of Divorcement," had a preview 




Richard Dix, disguised as a Victorian, takes a breath-taking spin 

(at 8 miles per hour) in one of the first horseless carriages. Those 

were the days when America rode high, wide and handsome — as 

you'll see in "The Conquerors" 



preview reports, decided 
that Miss Hepburn was 
something of a cinema 
gold mine. And, by the 
way, for once those "so- 
ciety girl" stories have 
basis in fact. Katherine 
really belongs to the best 
people, my dear, and has 
enough money to buy 
Rolls Royces to match 
her hats — if she wishes. 
The other current ex- 
citement in Hollywood — 
there's got to be current 
excitement about some- 
thing — is Charles Laugh- 
ton. You probably saw 
him in "Devil and the 
Deep." If you did, you 
won't forget him. Para- 
mount says he will make 
you forget all about 
Jannings. Well, the 

rotund Mr. Laughton 
gave an amazing per- 
formance in this picture. 
He played a neurotic 
madman. Mister Freud, 
himself, couldn't have 
thought up a better case 
subject — and Laughton 
made you forget every- 
thing else in the picture 
— even if Gary Cooper 
and Tallulah Bankhead 
did have a hotsy necking 
scene in a desert oasis. 



NOW that the dance marathon is all over, the Holly- 
wood stars cm catch up with their sleep. It has 
been going on tor days and days, and nights and nights. 
You saw more movie people in tin- ballroom where this 
endurance test was held than in front of the Chinese 
I heat re on premiere night. Polly Moran was there a lot. 
One night she sang a song, and the next night Harpo Marx 
offered her a lot of money if she wouldn't sinj;. Someone said 
Kay Francis won a pie that was raffled. I he pmeeeils went 
(Continued on page 68) 



11 



Taking In The Talkies 

Larry Reid's Slant On The Latest Films 




BLONDIE OF With the passing of Florenz Ziegfeld, perhaps the "Follies" and 

T u . p _ . . . __ all their glamour have become history. This may make "Blondie 
it r U L L I b b of the Follies" of more than passing interest to those who happen 
to be conscious of the lighted lane called Broadway. The others 
will find it mild, smooth entertainment along conventional lines. The Blondie of the title is 
Marion Davies, one of Ziegfeld's star graduates; the story details her rise from a tenement to 
Park Avenue via the "Follies." The inevitable lover is Robert Montgomery, whose amusing 
suavity gives him the acting honors along with the star. The jealous Other Woman, surpris- 
ingly enough, is Billie Dove (another ex-Ziegfeld star), who appears a bit — er — buxom, but 
does nobly. Marion and Jimmy Durante do a neat Garbo-Barrymore burlesque. 




T |_j c The chief interest in "The Crash," I suspect, will be in studying Ruth Chatter- 

r d a c i_i * on and George Brent in their scenes together — watching for signs of the 
V_ R A S r romance that led to their marriage soon after the picture was finished. And 
you may have a hard time detecting them. Ruth Chatterton is one star is 
not afraid of unsympathetic roles — and she has never proved this little fact better than in this 
picture. She is the discontented wife of a likable young Wall Street broker (Brent), and by 
her indiscretions costs him his fortune and takes both of them through a long, dreary time of 
unhappiness to an ending that is so suddenly happy that it seems artificial. The acting is 
beyond reproach, and the crash of the market in 1929 is pictured vividly, frantically. But 
affecting so few people, it is hardly an epic of the depression. 




MR. ROBINSON 
CRUSOE 



To my mind, Douglas Fairbanks, the Elder, deserves the 
Distinguished Service Cross or, at the very least, the Con- 
gressional Medal. His courage is colossal. The world is in the 
throes of a depression, and he has the daring to give it a fan- 
tasy, instead of a carload of sympathy! Personally, I found his effort a tonic. It is a sprightly 
fairy tale-comedy-travelogue, with Doug and the South Seas the whole show. He seems to 
be having the time of his life, and his enthusiasm for what he is doing is contagious. Cast 
away on a beautiful tropical island, he brings Robinson Crusoe up to date — even to the point of 
finding a Saturday, instead of a Friday. This Saturday is played by the new Spanish beauty, 
Maria Alba. Don't miss seeing it, if you're still capable of feeling young. 




THE NIG HT 
OF JUNE 1 3TH 



The title suggested a murder mystery to me, but I found the 
picture is something else again. A woman does die, and a man 
is accused of murdering her — but the suspense arises from the 
testimony of his neighbors at his trial, for you happen to 
know he is innocent. The setting is a town in which everyone knows everyone else and their 
lives are all tangled up together, but to save their own little reputations, the neighbors are 
willing to perjure themselves. It may not be a typical community, but it is a vivid one — with 
Give Brook the man on trial, Adrianne Allen as the woman he is accused of murdering, and 
Lila Lee as the girl he is suspected of loving. Gene Raymond and Frances Dee, the new 
juvenile love team, are also present. 




LIFE When 1932 is over, "Life Begins" will stand out as one of the memorable 

It - pictures of the year. It has both power and beauty. Here, for the first 

BEGINS time, the movies have the courage to speak out aloud about the great drama 
of Birth. The setting is the maternity ward of a big hospital, and most of 
the characters are women who are awaiting motherhood with varying degrees of expectation. 
Some want children, some don't, some are indifferent. Into this ward enter melodrama, 
comedy, tragedy. Here, also, come Loretta Young, piteous girl-convict, and her young hus- 
band (Eric Linden), who is asked to choose between her life and the baby's. Their acting— 
and that of Aline MacMahon as a nurse — is something you won't forget. Elliott Nugent, of 
acting fame, directed. 




O N C F IN For Hollywood to have produced this Broadway burlesque of the 

^J IS \~ C in movies should convince the world that the old movie town CAN 

A LIFETIME laugh at itself — that is, once in a lifetime. It hilariously insinuates 
that Hollywood didn't know what it was all about, when talkies first 
arrived. A third-rate vaudeville trio, dead broke, bluff their way into a studio and soft jobs. 
Aline MacMahon persuades a producer she can teach dumb little starlets how to talk; Russell 
Hopton lands a romantic role, and Goes Hollywood; Jack Oakie, who's not so bright, becomes 
a great director by shooting the wrong picture. The dialogue is witty, studio customs are 
devastatingly exaggerated, and the acting is okay, when it isn't exaggerated by Oakie. If you 
think the movies need a little kidding, I'd advise you not to miss it. 



12 




• New York hails a new hit! 



'/■ s 



Life Begins" draws greatest critical ovation in years on 
Broadway. Read every word of these sensational opinions 
by famous critics — for every word says "You must see it!" 



"A film for all the women of all the 
world. And for every man born of 
woman, too. Startling, tensely dra- 
matic, would wring weeps from a stone 
god — or a living one ... 'Life Begins' 
fulfills every promise, every hope." 

N. V. American 

• 

"Warner Brothers develop a new idea 
. . .'Life Begins' . . . ought to be seen." 

Arthur Brisbane 

in his column "Today" 

• 

"A true, simple masterpiece of motion 
picture drama ... It is a great 

photoplay ..." N ■ Y - Journal 

• 

"Ought to make Hollywood sit up 
and respect itself." N y Pos ' 



"A searching human document that 
will stir the heart and mind and soul 
of every man and woman who views 
it . . . will linger in the memory of 
everyone long after most pictures 
have been forgotten." fHm Dai 'y 

• 

"Refreshing, terrifying, astounding." 

Hollywood Reporter 

• 

"Four stars . . . Film epic . . . 
Genuinely dramatic film." N Y - News 

m 

"Strong drama, powerful pathos, rich 
humor, everything which goes to 
make an entertaining movie went 
into this one." N Y - Mirror 



Life Begins' turns all eyes to 

WARNER BROS. 



N. V. American 




With Loretta Young . . . Eric Linden . . Aline McMahon . . . Preston Foster . . . Glenda Farrell 
Directed by James Flood Co-directed by Elliott Nugent A First Notional Picture 



13 





/ CL(7U^ -LS2L C^J1A/££X^ 



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and acceptable side. Lambert Pharmacal Co., St. Louis, Mo., U.b. A. 



Listerine 



THE QUICK DEODORANT THAT ENDS HALITOSIS 



14 



THE TABLOID MAGAZINE OF THE SCREEN 

Movie Classic 



cV= 



iO&Os 



By 
ELISABETH 
GOLDBECK 




EVERYTHING 
else having 
failed, a new 
formula for 
Hollywood men who 
wish to hold their wives 
has been evolved by no 
less a bridegroom than 
William Powell. Bill 
speaks from personal 
experience, and his pro- 
nouncement is this: // 
you wish to avoid the 
pitfalls of that first year > 
marry a girl whose 
health won't permit her 
to leave the house for 
months after the cere- 
mony. 

Sounds like a cure 
that's worse than the 
disease. Hut if you 
must be sick, at least 
it's nice to know that it 
has advantages, and 
ole Lombard and 
Bill are a living proof 
that his theory works. 
A flock of meanies 
have tried ro plant an 

idea in the public mind that the Powells are 
separating— probably hoping, in the ghoulish 
manner of Hollywood gossips, that the 
thought would soon take root even m the 
Powell household, and flower into a beautiful 
divorce scandal. The reason for discord given by 
the gossips, who withhold nothing, is that Hill is fed 
up with having an ailing wife. And the purpose of tins 
present treatise is to show just how mistaken they are. 
Heaven grant that the Powells won't fail me before the 
date of publication! 



^fD 



Because Carole Lombard 
has been ill so much 
since their marriage, Hol- 
lywood has the idea that 
Bill is longing for his 
freedom. But Bill denies 
it — and reveals how her 
illness has helped them 
to avoid the pitfalls of 
"the first year"! 



Bill 

Powell 

talks about 

Wife 




Marriage has been 
one long siege of illness 
for Carole Lombard. It 
started on their Hono- 
lulu honeymoon. (They 
were married June 26, 
193 1.) Bill went out 
one morning, and came 
back to the hotel to 
find Carole in bed with 
a nurse and a bad case 
of influenza. Their de- 
parture from the Islands 
was delayed a week on 
account of it, and Carole 
was still snuffling and 
wheezing into a large 
handkerchief when the 
boat docked at home. 
From then on, the 
germs banded together 
against her. No sooner 
had she recovered from 
the first assault than 
she returned to Para- 
mount to work, caught 
a chill on a draft \ 
stage, and was back in 
bed the next day with 
a new assortment of 
You know the rest. Carole 
couldn't seem to shake oflfthe jinx, and in the 
little more than a year that they've bein 
married, she has been in bed with some illness 
* or ot Ik 1 |>i act ically all the t imc. 

It seems to be the consensus ol Hollywood 

opinion that an enthusiastic bridegroom might get 

pi it t \ tired of this. What fun can it be to base an invalid 

around all the time, instead of the lively, luscious girl you 

married r That's the impertinent question Hollywood asks. 

age 68) 

l.S 



.-omplaints. 




Jean Harlow 



This picture of Jean Harlow 
and Paul Bern was taken just 
before their marriage last July 



TWO months and 
two days after Jean 
Harlow had be- 
come the happy 
bride of Paul Bern, powerful 
and popular studio execu- 
tive, he was found dead — a 
mysterious suicide — in the 
luxurious home that had 
been his wedding present 
to the famous platinum 
blonde girl, twenty-one 
years younger than him- 
self. And the first thing 
Hollywood wondered was : 
Did Paul Bern end his beauti- 
ful wife's career when he 
ended his own life? Is there 
tragedy ahead, too? 

Beside his body lay a note 
addressed to Jean: "Dearest 
dear — Unfortunately this is 
the only way to make good 
the frightful wrong I have 
done you and wipe out my 
abject humiliation. I love 
you — Paul." There was a 
postscript: "You understand 
that last night was only a 
comedy." 

16 



T 



ortured 

bv T 



y i rageay 



d 



By DOROTHY CALHOUN 




Acme 

Paul Bern (center) was "a 
student of suicide,"friends 
now reveal. Also, it has 
been revealed that there 
was a previous "Mrs. 
Bern" — the mysterious 
"Dorothy Millette" 
(above) , also a suicide 



Jean, temporarily 
crazed by the shock of 
the tragedy, blindly ran 
toward a window in her 
mother's home, whither 
she had been called 
from the studio and 
told the news. She was 
not attempting suicide; 
she was seeking some 
way to get out of the 
room, to go to Paul. 
Friendly hands re- 
strained her. For hours, 
she was hysterical. For 
days, she was near col- 
lapse. Detectives, puz- 
zled in their search for a 
motive for Bern's sui- 
cide — a puzzle height- 
ened by the note he 
left — called on Jean. 
The note, said the girl 
so tragically widowed, 
bewildered and puzzled 
her, too. She could not 
understand . . . 

The motives for Paul 
Bern's suicide became 
the greatest mystery of 
Hollywood since the 
baffling murder of Wil- 



Below, the Berns' 
"honeymoon 
house" — scene of 



the tragedy 




Famous platinum 
blonde, a happy bride 
of two months and on 
her way to great Fame, 
is widowed at twenty- 
one by the suicide of 
her producer-husband, 
Paul Bern. Mystery sur- 
rounding the motive 
for his act may never 
be solved, but it is in 
your power to solve 
the mystery in Jean s 
mind: What does the 
future hold for her? 



Right, Jean 
Harlow (then 
Harlean Car- 
penter) at the 
age of six — 
and a beauty 
even then 






[nli rnal 



Jean married Paul a year 

and a half after divorcing 

Charles F. McGrew, II 

(above) 



iam Desmon 
tor, in 1922 
unsolved. M;r\ 
father of Jeai 
the couple haif 



"J 



Looking 



Them Over 



Gossip From The West Coast 

By Dorothy Manners 



nr 



HE ru- 
mor per- 
sists in 
JL Holly- 
wood that all is 
not well between 
Gloria Swanson 
and her latest 
husband, Michael 
Farmer. If this 
gossip is true, 
then, for the 
fourth time it will 
prove that Gloria 
cannot remain 
happily married 
and make a motion 
picture at the same 
time! 

Gloria's ro- 
mances invariably 
start between pic- 
tures, a European 




Now that George Brent has a 
gun in his hands, he feels better. 
Just let any interviewers try to 
interrupt his honeymoon now! 




honeymoon usually follows, and everything is sweet 
and lovely, with Gloria talking of the joys of matri- 
mony and motherhood. For six months or a year, 
Gloria is in love — and in Paradise. And then comes 
the time when Gloria once again turns her atten- 
tion to her career and becomes Gloria, The Business 
Woman. 

When Gloria works, everything else is pushed out 
of her life. She eats, sleeps and breathes her pic- 
ture. More than one husband has been forgotten 

when Gloria 
has gone to 
work — and 
she is re- 
ported to be 
encountering 
all sorts of 
difficulties in 
her London- 
made picture. 
In the pic- 
ture, whose 
title is "Per- 
fect Under- 
standing" (!), 
Michael 
Farmer plays 
the husband 
of Genevieve 
Tobin. 




A 1 



,e glamour of the Ben- 
ts is apparent even 
gingham — as Joan 
■es above in a scene 
1 "Wild Girl," with 
Ralph Bellamy 



F T E R 

nearly 

two years in 

an Arizona 

sanitarium, 

Renee Adoree 

has returned 

to Hollywood, 

weighing 

ninety-eight 

pounds and 

looking glori- 

>usly happy and healthy. Her closest 

riend, Dorothy Sebastian, and Dot's 

usband, Bill Boyd, were at the train 

o meet her. After two more months 

jf rest, she will resume her career — at 

her old studio, M-G-M, which didn't 

forget Renee. Her comeback role has 

not been selected yet, but it will find 

the little French girl eager. Wonder if 

she will ever remake "The Big Parade" ? 



WHOEVER started that fool- 
ish story about Joan Bennett 
and Gene Markey — namely, that 
they had not yet paid the organist 
who pealed out the wedding march 
at their marriage last March — is 
very wrong about the facts in the 
case. 

It is true that the lady organist, 
Florence Sanger, did sue to recover 
the thirty dollars due her for the 
short-and-long-stop music she sup- 
plied for the Markey nuptials — 
but she was not suing Joan and 
Gene. Her suit was filed against 
Ed Daniels, a florist, who had 
agreed to "attend to all the de- 
tails" of the wedding party for 
Joan and her writer-husband. It 
seems that the flower decorations 
cost Joan and Gene #325, the ren- 
tal of the palms was $48, and $30 
was paid by the Markeys "for 
services of an organist." The can- 
celled check to prove that the money 
for that purpose had been paid to Daniels 
was introduced in court. 

Miss Sanger collected — and now we all 
know just what it costs movie folks to 
decorate the house for a wedding. 



WHEN it was announced in the news- 
papers and over the radio that Eva 
Tanguay (at one time reputed to be worth 
#2,000,000 and well-known as a vaudeville 
and Broadway headliner) was seriously ill 
and "broke" in a modest house in Los 
Angeles, the movie folks responded with 
that generosity that is characteristic of 
them. There is nothing that touches the 
heart and pocketbook of Hollywood so 
quickly as the news of a- fellow-player in 
distress. 

Though many 
of the benefactors 
who sent money 
to the famous Eva 
refused to divulge 
their names, it is 
said that the Marx 
brothers entered 
several thousand 
dollars in the ac- 
tress' bank ac- 
count, with in- 
structions that 
she was not to 
know where it 
came from. 



T ILY DAMITA 

J 4 is no longer 

Lily Damita. The 

little French ac- 
tress has changed 
her name, or had 
it changed for her 
by Warner Broth- 





Know who this is? Nils Asther, as Vcti 

in "The Bitter Tea of General Yen!" 

It took him two hours to make up 



Lupe Velez is back from Broadway 
with a brand-new haircomb, and 
making up to Walter Huston in 
"Kongo." Walter seems to be won- 
dering if he can take it — 



ers, to the more exotically- 
spelled Lili Damita. 

It seems that Lili is going to 
play a very alluring, exotic 
role in "The Match King" — 
a role that they tried to get 
Garbo to play — and somebody 
at Warners decided that "i" 
is a much more sexy letter 
than "y" and will look better 
on the seductive posters. 

Well, it's all right with Lili. 
She says she will probably keep 
the name. Did we hear any- 
body say anything about a 
publicity stunt ? 



HELEN TWELVETREES 
and her husband. Frank 
Woody, have left for New 
York, where Helen will await 
the arrival of the expected heir. 
Their hospitable Brentwood 
home will be closed tor two 
months, which is going to be 
a big disappointment to a lot 
of people who always have 
such an awfully good time at 
Helen's and Frank's. 

The Woodys have the swell- 
est collection of exciting games of any stellar est ablishment 
in Hollywood (and I don't mean the inevitable bridge or 

poker). They arc the proud possessors of a top-spinning 

game more exciting than the <l<>^ races, \ our favorite toot- 
hall game and a dance marathon all ^oing at the same time. 



SUE CAROL, Lola Lane and Dixie Lee have been keep- 
ing bachelor-girl quarters ai Sue's house while their 
respective husbands, Nick Stuart, Lew Ayres and Bing 

V) 




Looks as if Fifi Dorsay has 
a rival! Her name is 
Thelma Hill, and she's coy 
in Educational Comedies 
with Andy Clyde 



Crosby, have been 
fishing for "big 
ones" in Mexican 
waters. Counting 
s ix-weeks-old 
Carol Lee Stuart 
makes four 
"girls." 



SALLY EILERS 
holds the rec- 
ord for the long- 
est-lasting cold in 
Hollywood. At 
first, the cold was 
a nuisance — but 
as it goes on and 
on like an endur- 
ance contest, Sally 
is beginning to 
take a slight pride in it. After all, 
not everybody can catch a cold 
that lasts for two or three months! 
Besides, it has made Sally's voice 
husky and most attractive. In 
"Hat-Check Girl," her newest 
picture, Sally sounds like a cross 
between Ethel Barrymore and 
Katharine Cornell. 



NORMA SHEARER was very 
upset 




According to all reports, 
Anna Sten, the Soviet movie 
queen who has come over 
to learn Hollywood ways, 
is about ready to tear her 
hair (brunette, you'll note) 
over learning the English 
language. As soon as she 
does learn it, you'll see her 
opposite Ronald Colman 



H. H. Louise 



the other day 
when a pho- 
tographer 
sprang out 
from behind 
wherever it is 
photographers 
hide, and 
snapped a pic- 
ture of Norma 
with Irving 
Thalberg, Jr., 
in her arms. 
Instead of 
growing an- 
gry, Norma 
went up to the 
photographer, 
explained just 
why she did 
not want her 
son's picture 
to appear in 
print and be- 
fore the star- 
tled young 
man knew 
what had hap- 
pened to him, 
he had agreed 
to tear up the 
picture. 

Consider- 
ing that the 
picture was 
worth a great 



They're calling Wallace 
Beery "squaw man" now. 
When he goes walking 
with his dog, he takes little 
Carol Ann Beery along in 
papoose fashion. Clever? 




Here's a study in nonchalance — by Susan Fleming. 

She has won a big contract since being the feminine 

love interest in "Million-Dollar Legs" 



It takes an old-fashioned 
girl to get a kick out of ice 
water, says Ann Harding 
(above), who has spent a 
torrid summer 
dressed as a Vic- 
torian charmer in 
"The Conquer. 
ors."Likethecurls? 
There's a rumor 
these styles are 
coming back! 



deal of money to him through sales to newspapers 
and magazines, it was a most magnanimous ges- 
ture. Norma must have realized this, for she of- 
fered to buy the print from him. But the gentle- 
man insisted upon being gallant. He tore it up. . . . 



MARLENE DIETRICH'S favorite game is 
Blackjack. 
Bebe Daniels' is Bridge. 
Constance Talmadge prefers Tennis. 
Helen Twelvetrees likes Parchesi. 
Janet Gaynor likes Blackjack. 
Marie Prevost goes for Poker. 



WHEN Bebe Daniels tinted her raven-black 
hair to blonde, all her friends advised her 
that she had made a mistake and that the bru- 
nette coloring was much more becoming to her. 
So Bebe went brunette again. 

No sooner had she acquired her original coloring 
than Warner Brothers requested her to go blonde 
for her role opposite Edward G. Robinson in 
(Continued on page 62) 



20 




Below, Joel, 
the fashion- 
plate — who 
says that 
clothes make 
him uncom- 
fortable. He's 

ooking for 
roles that will 
give his torso a 
chance and let 
him be himself, 

as at the left 



Ex-Ladies' Man 
-That's 

Joel McCrea! 



The boy who used to squire Connie Bennett around has 
changed from ladies' man to he-man. For one thing, he has 
taken off his shirt. And he has taken Charlie Bickford's tip to 
stop being sweet; he's acquiring menace now. The girls have 
found a new hero — but Joe! is just too busy for romance! 



By Betty Willis 



A GREAT big change has come over Joel McCrea 

/\ of late. In the first place, he has taken off his 

/— \ shirt, for purposes of the cinema. Not only his 

X JL shirt, but his undershirt. Right down to the 

epidermis is Joel, and with the shirt have been shed a lot 

of the misconceptions the world had about him. 

Because female stars from Connie Bennett down have 
grabbed at him to be their leading man, and because he's 
one of the most invited-out bachelors in Hollywood, Joel 
has acquired the reputation of being a ladies' man and a 
Beau Brummel. People always think of him in a tux and a 
stiff shirt, with some glamourous star on his arm. i won't 
deny that that has often been a true picture, but it was 
expediency and not romance that brought it about. 

The truth is that Joel hates to wear clot Ins, and he 
doesn't give a hang about women. He likes them im- 
mensely, in an offhand way, but if you could hear him 
voice a few shrewd comments on the various stars he has 
supported, you would realize that he sees them stripped of 




glamour and in a 
cold, clear light. 
He tries to view 
himself with the 
same candor. He 
has popular young 
Hollywood bach- 
elors all figured out, 
in a manner that 
would deflate al- 
most anyone's ego. Joel has no delusions about himself. 

Women stars continue to fight over him, and it he so 
much as asks a girl for a dance, she's apt to come back 
with almost any kind of offer. But to all this, Joel is 
genuinely indifferent. With some boys, it's women. With 
Joel, it's career. 

You'll notice that most ol the women m Joel's life 

Gloria Swanson, Dorothy Mackaill, Constance Bennett 

(Continued on pa^r Jo) 

21 



Stars Invent 

A New Kind 



Of Divorce 



By NANCY PRYOR 



After Jack Dempsey and Estelle 
Taylor (above) got their "civil- 
ized" divorce, Estelle "saw 
more of Jack than ever" 



EVEN little 
children 
know that 
' divorces axe 
as common in Hol- 
lywood as love 
scenes on the 
screen. But not 
everyone knows 
that the stars have 
invented a NEW 
kind of divorce — a 
divorce that makes 
it practically im- 
possible for an ex- 
wife to lose an ex- 
husband ! It may be 
easy to get a decree 
in Hollywood, but 
it's not so simple to 
act divorced ! 

It's not the origi- 
nal decree — it's the 
hangover! They 
can't shake off the 
matrimonial hang- 
over of friendship, even romance; they can't lose the 
habit of constant communications over mutual in- 
terests, including the bootlegger's telephone number 
or the name of the hand laundry that does the shirts 
so well. Somebody once said that marriage is one- 
half whatever you want to make it, and the other 
half — HABIT. It might be said of many Hollywood 
divorces, that except for two roofs where there used 
to be one, the responsibilities of matrimony go mer- 
rily on in just the same old fashion. 

For instance, while Maurice Chevalier was busy 
filing a divorce suit against his wife, Yvonne Vallee 
Chevalier, on the grounds of "incompatibility," the 
lady herself was out trying to rent Maurice a "com- 
fortable" villa where he could rest during his Euro- 
pean rest-divorce trip. After all, argued the amaz- 
ing Yvonne, who knew Maurice's tastes better than she? 
Probably between thinking up clauses on her own secret 
counter-suit, she was putting laundry marks on the Che- 
valier linen and having the bedroom drapes changed from 
bright yellow to green because Maurice doesn't like yellow. 

To cap the climax, when the villa was actually rented 
and furnished, and, practically right in the midst of the 
newspaper flurry over their parting, Yvonne announced 
that she would probably remain for a visit with Maurice! 

"Maurice really needs a good rest," explained Mrs. 

22 



Chevalier, who was practically right on the ragged 
edge of becoming the Ex-Mrs. Chevalier. "No one 
can save him so much, or understands him as well as 
I do. I think matrimony has been the trouble with 
us all along. When we are free, we will probably 
fall in love with each other all over again!" 

Now there 
was a breath- 
taker even for 
Hollywood, 
more or less 
accustomed 
to the "kiss" 
brand of di- 
vo r ce ! Of 
course, Ann 
Harding and 
Harry Ban- 
nister had 
walked into a 
Reno divorce 
court hand- 




Austin Parker is no longer 
the hubby of Miriam Hop- 
kins (above) — but he plays 
papa to her newly adopted 
little boy. And Harry Ban- 
nister won't pose with other 
lady friends, for fear of 
embarrassing Ann Harding 
(right), who divorced him 



in-hand and had ac- 
tually posed on the 
courthouse steps 
kissing "good-bye" 
— but you really 
have to hand the 
palm to the Cheva- 
liers, who surprised 
two continents by 
threatening to be- 



Right and left, movie stars are suing for freedom from their 
mates — and then proving that a divorce decree doesn t 
always part a couple. Ruth Chatterton, Yvonne Chevalier, 
Ann Harding, Bobbe Weissmuller, Miriam Hopkins — these 
girls find that a Hollywood husband is hard to lose! 



come lovers after they were divorced! They 
had invented a new kind of divorce, and no 
doubt about it! 

A great many people believe that little 
Bobbe Arnst knew she was about to lose her 
handsome husband, Johnny Weissmuller, a 
long time before she was willing to admit it. 
But even when the break actually came, Bobbe 
didn't know whether she was really losing a 
husband — or merely getting a divorce! 

Johnny Needed Bobbe's Help 

JOHNNY had moved his clothes to the 
Athletic Club and the papers were filled 
with their divorce plans, and yet it was very 
much of a husband who would call Bobbe on 
the 'phone and beg her to send 
their old laundry man over to 
pick up his shirts, and to tell 
him the name of that little 
Spanish cafe they had discov- 
ered together, and whether or 
not he was overdrawn at the 





Russell Ball 

Ralph Forbes and Ruth 
Chatterton (above) are 
no longer marital part- 
ners — but they still are 
business partners and 
will produce plays to- 
gether. Eleanor Board- 
man and King Vidor 
were supposed to be in 
a hurry for divorce — 
but delayed step 



Divorce split up Colleen 
Moore and John Mc- 
Cormick (above), but 
he's still her best-wisher 



bank. As Bobbe 
explained to a 
friend: "Johnny is 
just a little boy- 
Somehow I can't 
believe that any- 
thing like this sep- 
aration has actu- 
ally happened to 
us. I can't help 
worrying about the 
silliest things ... I 
wonder who is go- 
ing to darn his 
socks and see that 
he gets to the stu- 
dio on time?" And 
probably a year 
from now, divorced 
and everything, 



Maurice Chevalier filed a divorce suit 

against his wife, Yvonne, and then went 

down to the romantic Riviera to stay with 

her! 



Johnny will still he 
calling Bobbe about the laundry man! For the 
Weissmullers, in their own quiet way, have also 
invented a new kind of divorce! 

Peggy Shannon and Allen Davis have been 
separated for two years and yet just let one of 
the young Hollywood eligible bachelors try to 
get a date with Peggy! Allen is usually at her 
apartment waiting for her to come home so 
they can go to dinner together. "He's worse 
than a husband," Peggy once laughed. "He's a 
jealous beau !" 

rhough Peggy is legally free to come and go 
as she pleases, she usually pleases to go with 
Allen. They go to picture shows and hold 
hands. I hey .step out on dates to the Cocoa- 
nut Grove. They seem to be 
ideally happy together . . . "ex- 
cept when we're married and liv- 
ing together," explains the red- 
headed Peggy, who doesn't seem 
to mind in the least that Allen is a 
\ i i \ - h a id- t o-l ose I) u S b a n d . 

rhey've invented a new kind of 
sepai at ion — winch is second cousin 
( ontinued on j ■ 



After Johnny 
Weissmul h-r 
moved out, he 

kept calling 
Bohhe Arnst 
for favors, ask- 
ing the aJ- 
Jri'ss of the 
laundry man, 

and sue h 

things 



23 



Hollywood 
Votes for the 

First Time 




Did you know that until this year Hollywood has been almost a voteless 
village? For one reason or another, few players ever voted. But this 
year they're all marching to the polls — some to protest against Prohibition, 
some to fight taxes, and others to try to put Roosevelt in the White House, 
or keep Hoover there. Pity the foreign stars — they have to stay home! 



Last December, Norma Shearer 
took the oath of allegiance to the 
United States and became a citi- 
zen. She can vote now 



ACTORS have never been important politically. 
/\ No campaigning politicians have ever hung 

r— \ about stage doors or studio gates, waiting to slap 
A. Jl. John Barrymore on the back, give Clark Gable a 
cigar or kiss Bebe Daniels' baby — until this year. Actors, 
as a class, have been almost completely disenfranchised 
people for one reason and another. Hundreds of them, 
living in Hollywood, will vote this year for the first time 
in their lives ! 

There is so great anumberof these 
debutante voters, indeed, that local 
politicians, girding their loins for 



political ball its real push 

when he invited the executives 

of each studio to lunch, with 

Mr. McAdoo as guest of 

honor. They organized the 

motion picture Roosevelt-and- 

Garner Club and the McAdoo-for-Senator Club and laid 

plans for a huge mass meeting of the entire industry. They 

secured pledges of support from such important executives 

as Darryl Zanuck, Jesse L. Lasky, Carl Laemmle, Jr., 

Winfield Sheehan, Harry Cohn and Henry McRae. It 

began to look like a Democratic landslide in the picture 

industry! 

Metro-Goldwyn-Mayer was just a trifle uneasy with all 

these goings on. With 
William Randolph 
Hearst, an ardent and 
powerful Democrat, a 




Will 



Jeanette 



Robert 



the coming battle, are seriously and 
eagerly concerned with the problem 
of how to approach them and secure 
their support. Hollywood finds her- 
self, somewhat to her astonishment, 
politically important. Political- 
minded executives are taking steps 
to see to it that their little charges 
are instructed in the gentle art of 
putting little crosses in exactly the 
right corners of their ballots. Regis- 
tration booths have been established 
at all the big studios. 

RKO introduced its employees 
officially to William Gibbs McAdoo, 
the Democratic candidate for United 
States Senator, at luncheons given 
on the lot. Jack Warner gave the 





Connie 



Bebe 



Above, Aline MacMahon registers. Except for Will Rogers, 
the stars to left and right are "first voters" this year 



producer on the lot; 
and Louis B. Mayer, 
president of the com- 
pany, a warm personal 
friend of President 
Hoover, and one of 
the few motion pic- 
ture people who have 
ever slept in the White 
House — well, you can 
see how employees of 
that studio would feel! 
It would be exceed- 
ingly tactless for one 
of them to whisper his 
political preferences — 
even to his wife! What 
to do — what to do? 



24 



By HELEN LOUISE WALKER 



But it is not merely nudgings from high circles that are 
inspiring stars, both male and female, to put their fingers 
into the Presidential pie this year. Most of them are tak- 
ing an actual and practical interest in politics for the first 
time. You see, if you live in hotels and flit about the face 
of the map, as stage actors do, never knowing one season 
where you will be living the next — you can't be expected 
to take much interest in how your government is run. But 
when you settle down and buy a home and put your chil- 
dren in school and become a taxpayer, you waken suddenly 
to a sense of civic responsibility, to an interest in the con- 
duct of affairs of state. And you want to vote. 

Motion picture actors have discovered, also, that there 
are problems of government which touch them personally 
and intimately. Problems of taxation, of control of censor- 
ship, of tariff on films, the immigration quota laws, 
problems of the foreign markets. And there is scarcely an 
actor who is not interested just now, directly or otherwise, 
in the question of the Eighteenth Amendment. The result 
of all this is that some of them read the front pages of the 
newspapers even before they turn to the reviews of their 
current pictures! And that has certainly never happened 
before! Hollywood is undergoing a revolution in habits. 

When the question 
of further taxation on 
theatre tickets arose 
in Washington, 
studio executives 
sent memorandums to 
every employee on 
several of the lots, re- 
questing opinions 
and suggestions. 
After all, taxation at 
the box office may seri- 
ously affect an actor's 
income! It behooves 
him to investigate. 

Irene Dunne, Ro- 
bert Montgomery, 





fashion in which Norma always does things — employed a 
tutor, took up the study of government, economics, 
American history — and passed, of course, at the head of 
her class. Paul Lukas has recently been naturalized and is 
being frightfully enthusiastic in his quest for information 
upon subjects of national importance. 

Mary Pickford became a citizen of the United States 
years ago when she married Owen Moore. (Mary was born 
in Canada, too, you know.) She and Douglas Fairbanks, 
being a bit more civic-minded than most of our actors, 
have always gone to the polls when the occasion presented 
itself. But this year they are intensely interested — Man- 
in the re-submission of the Prohibition Amendment and 
Doug in problems of taxation. Doug feels strongly that 
the burden of taxation should be laid upon the rich — and 
he wants to have a voice in these matters. But it looks as 
if he'll be voting by absentee ballot — for he is off globe- 
trotting again. 

These Stars Can't Vote 

MARLENE DIETRICH, Boris Karloff, Charlie 
Chaplin, Elissa Landi, Clive Brook, Tala Birell, 
Maurice Chevalier — none of these may vote because thev 
are not citizens. 

Jeanette MacDonald has never 
voted before because she was afraid 
she might be drawn for jurvdutv! 
She is suppressing her fears this year. 

A surprising number of people 
who have lived in Hollywood for 
years have never taken the trouble 
to vote before — merely because thev 
were not interested. Colleen Moore 
is among these. So are Estelle 
Taylor and Neil Hamilton and Gary 
Cooper. Ben Lyon and Bebe have 
never voted before. 

"Motherhood," Bebe says rue- 
fully, "presents more problems than 
I ever dreamed of. Not only must I 




Marlene Doug, Jr. 



Ann 



Above, Polly Moran autographs a voters' registration 

book. Tala Birell and Marlene Dietrich can't vote, being 

aliens. Irene Dunne, Douglas Fairbanks, Jr., and Ann 

Harding arc voting for the first time 



Douglas Fairbanks, 
Jr., John Boles — even 
stuttering Rosco Ates 

will vote for Presi- 
dent for the first time 
this autumn. None of 
them has ever had a 
permanent residence 
before, during a national election — having been stage folk. 

Ann Harding was brought up in a family that always 
took an active interest in politics but never, since Ann 
came of age, has she lived in one place long enough to 
exercise her privilege. But now she has her own home; 
there are problems that touch her and upon which sin- 
wishes to express her preference — and she intends to vote. 

Norma Shearer will vote for the fust time tins year. 
Norma was horn in Canada and has only recently been 
naturalized. She went about the matter m the thorough 



make a study of the relationship be- 
tween spinach and a small morsel of 
humanity — but I must also make a 
study of national problems and hie 
myself to the polls at election time, it 
I am to do my duty to my child! 
It's appalling!" 

I he Hamiltons, too, have discov- 
ered that a home of their own and an adopted babj 
suddenly make politics seem important. 

Constance Bennett, since the last Presidential election, 
has become a woman with rather staggering financial 
interests and must needs concern herself with problems ol 
taxation. Connie is one ol Hollywood's most ardent sup- 
porters ol repeal, feeling that ii may end the Depression. 
She's voting for the Hist time tins year. So is her sister, 
Joan, who wasn't old enough to vote in t<y- s - 
i Continued mi page 62) 



25 



You Can't Always 




Copy 



M 



ovie 



St 



ar 



When you look 
looks like Greta 
man (at top) or 



26 



into your mirror, do you see a girl who 
Garbo? Or do you copy Lilyan Tash- 
Connie Bennett (upper right) or Kay 
Francis (lower right)? 



An Open Letter To An Old Friend, 
Miss Movie Fan 

FROM 
BARBARA FOSS 

DEAR FANETTE: Just yesterday I read something 
I in the papers tucked down in a corner of the "Wo- 
man's Page" that gave me quite a turn. It read: 
"The young girls of America are patterning themselves 
more and more after the movie stars of Hollywood . . . in the way 
they wear their hair . . . the clothes they select . . . in their -personal, 
professional and social lives!" 

It was the last idea that rather gave me the shock. Of 
course, after six Garbo-mad years I had become quite used to 
the long scraggy shoulder bobs flying out from under hats 
perched precariously on the side of the head. And on several 
occasions I've strongly suspected the Kay Francis influence 
among the slicked-down-tight brunettes. I've been served in 
restaurants by carbon copies of Janet 
Gaynor, and once, a Joan Crawford (eye- 
brows, mouth and everything) sold me a 
reducing girdle. 

But with all this evidence of Holly- 
wood turned loose on the world, I hadn't 
quite suspected that movie stars were 
setting a personal, social or etiquette 
code. I hope I don't seem narrow in 
remarking that the idea presents amaz- 
ing possibilities. 

Consider the debutante daughter of 

the Average Family behaving after, say, 

the social manner of Gertie Google with 

a taste for champagne in bed, a tendency 

to slide a skirt to the knee-line when sitting down 

and a slew of bon mots that would raise the hair on 

a Mexican Hairless. Even suppose we simplify the 

idea (what with champagne at its present prices), 

there's still the picture of Snappy Sixteen (formerly 

Sweet Sixteen) awakening to a gin fizz, hoisting an 

ankle, and drawling the Main Street bon mot: "Oh, 

yeah ?" 

Far be it from me to deny that movie stars have 
done a lot of good in the world. If it weren't for their collective 
beauty tips, we'd all probably still be running around the streets 
{Continued on page J2) 



Movie 
Classic 



Tabloid 



News 
Section 



THE NEWSREEL OF THE NEWSSTANDS 



The girls of the en- 
semble in Eddie 
Cantor's new 
words -and- music 
picture, "The Kid 
From Spain," have 
taken a tip from 
the college crews 
who dunk their 
coxswains after 
winning a race. 
After putting them 
through their 
paces the girls gave 
the dance director, 
Busby Berkeley, 
an involuntary and 
unwilling dunk- 
ing. And did Bus- 
by cry "Mamma!" 




Warners are making h'm plans for Eleanor 
Holm, Olympic backstroke sw Immlng i ham* 
pion. She will be featured jusl as soon as she 
[earns her acting a, b, c's. See story, page 2.s 



7 



♦ MOVIE CLASSIC TABLOID NEWS SECTION ♦ 




I 



Eleanor Holm, back-stroke 
swimming champion, has 
been signed by Warners. 
Her beauty is exceptional 
for a girl athlete 

THE world's best men 
and women, physically 
speaking, recently gathered 
in Los Angeles to break all 
but three or four world rec- 
ords for athletic prowess. 
More than three hundred 
of them competed in the 
Olympic Games. Less than 
a half-dozen were given 
screen offers after the 
Games were ended ! 

"Athletes have beauti- 
fully shaped bodies, but 
their faces are usually 
plain. They show the ter- 
rific strain they undergo, 
in grim jaw development, 
lines of strain about the 
mouth and eyes, and over- 
developed facial muscles," 
said one studio photographer who 
tested several girl contestants. 

One bright exception is Eleanor 
Holm of New York, who won the 
back-stroke swimming championship. 
This shapely and piquant little swim- 
mer turned down a stage offer from 
the late Florenz Ziegfeld, so that she 
could participate in the Olympics — 
an event that usually comes only once 
in the lifetime of an athlete. With 
the Games over and her champion- 
ship won, she consented to movie 
tests — and was signed by Warners, 
who promise featured roles for her, 
will not capitalize on her swimming 
prowess, and are giving her six months 
of dramatic training before putting 
her before the cameras. It's apparent 
that they expect great things from 
Eleanor. 



Few Olympic Athletes 
Receive Movie Offers 

Film Tests Show Most Athletes Have Hand- 
some Bodies, But Plain Faces — Eleanor Holm, 
Champion Swimmer, Is Notable Exception And 
Is Being Groomed For Stardom 



By EVELYN DERR 



Little Dorothy Poyn- 
ton, high-diving cham- 
pion, is a local girl — seven- 
teen, with platinum 
blonde hair, a tiny, but 
shapely figure, and large 
eyes. She is dickering 
with one of the larger 
studios at the moment. 
Helene Madison, the Se- 
attle girl-swimmer who 
broke an Olympic rec- 
ord, has signed with John 
Clein, independent pro- 
ducer, to make a feature. 
Georgia Coleman, Los Angeles 
girl-diver, has taken movie tests. 
Buster Crabbe and George 
Halloran, Olympic swimming 
champions, have been tested by 
Paramount, which is still con- 
sidering signing them. (It's no 
secret that studios are looking 
for another Weissmuller.) Inge- 
borg Sjoquist, pretty blonde 
diver from Sweden, also was 
tested — though she would have 
to learn English before 
appearingon thescreen. 
When Jose Zabala, 
young Argentine, gamely 
staggered across the fin- 
ish line of the cruel twen- 
ty-six-mile Marathon, 
the enthusiasm of the 
throng sent two movie 
producers hurrying down 
into the athlete's quar- 
ters with screen offers for 
the little hero. However, 
Zabala — a newsboy in his 
native land— did not 
choose to run for movie 
fame, as well, and de- 
parted happily to hisown 
country at the close of 
the Games. 




Left, Eleanor Holm — 
who has put aside her 
bathing suit — proves 
that she can dress as 
smartly as any actress. 
She will not swim for 
the movies, but will 
be featured in roman- 
tic roles. Above, Geor- 
gia Coleman, another 
girl swimmer tested 
for the films 



28 



♦ THE NEWSREEL OF THE NEWSSTANDS ♦ 



Mrs. Jolson Enters Films — Al 
Not Afraid He Will Lose Her 

Mammy Singer Springs Big Contract On Ruby Keeler, Former Ziegfeld Star, 
As Birthday Surprise — Al Says, She Wont Let Career Interfere With Love 



By SONIA LEE 



TWO careers in a family have al- 
ways been considered a danger 
to domestic bliss. But Al Jolson 
doesn't fear the picture now im- 
minent for his wife, Ruby Keeler, 
former Ziegfeld beauty, who forsook 
the stage when she married the 
famous "Mammy" singer and star of 
the first talkie, September 21, 1928. 

She has been placed under a long- 
term contract by Warner Brothers, 
and will be featured in the pretentious 
"Forty-Second Street," which also 
includes Warren William, Kay Fran- 
cis, Joan Blondell, Richard Barthel- 
mess and George Brent in the 
cast. The contract was in the 
nature of a birthday present. 
On August 25, Darryl Zanuck, 
production chief of the studio, 
called Jolson regarding the 
possibility of getting Miss 
Keeler' s name on the dotted 
line. 

"If you can get the contract 
ready by tonight," Jolson told 
him, "we'll spring it on her 
tomorrow as a surprise. It's 
her birthday. She'll sign." 

She did. And it is reported 
that she is to receive #2,000 a 
week for her first picture, with 
an ascending salary scale for 
additional ones. Jolson is his 
wife's agent and manager, and 
he is delighted with his new- 
role. What is more, he's cer- 
tain Ruby will be a sensation. 

"Of course, I am pleased 
that Ruby is to have an oppor- 
tunity in pictures," he declares. 
"She has been terribly lonely 
out here, and homesick for 
New York. The reason has 
that she hasn't had any- 
thing to keep her busy in 
Hollywood. Doing a picture 
will keep her interested and 
amused. And if she doesn't 
like films — she can always quit. 

"One thing is sure she 
won't let a career interfere in 
any way with our love and our 
life together. She purposely 





Al Jolson (above) pre- 
dicts that Ruby Keeler, 
his dancer-wife (left), 
will be a sensation — and 
that, if she is, they'll still 
be as close as they are in 
circle 



hurt herself, falling 
down a flight of stairs, 
when she was featured 
in Ziegfeld's 'Show 
Girl,' because she 
w anted to be with me. 
And I guess a gn I w ho 
could do that wouldn't 
be much inclined to let 
a picture complicate 
or diminish our happi- 
ness. She is an un- 
usually intelligent and 



sensible girl, and attaches the 
right value to everything. 
So I am not in the least 
disturbed by the possi- 
bility of having an- 
other picture star in 
the family." 

At one time Uni- 
ted Artists wanted 
Ruby Keeler to ap- 
pear in a picture 
with Jolson. But 
they both vetoed 
the suggestion. "We 
bothfelt, "points out 
Jolson, "that it 
would put too great a 
strain on us — working 
together all day, and 
then coming home with 
the same worries and the 
same problems. Ruby re- 
fused point-blank. She said 
^""'that if she were appearing with 
me, I'd worry about her work and 
mine, too. And she was right. But 
as it is, Warners will do all the 
worrying." 

Work, for Ruby Keeler, isn't a life- 
and-death matter. She can take it or 
eave it alone. Jolson's earnings are 
enormous, and he is famous as an 
indulgent husband. But as a new 
interest — Al Jolson is all in favor of 
his wife's movie career. 

Ruby's contract with Warners 
came as a surprise to Hollywood, 
which was not aware that Al and the 
studio for which he made the hist 
talkie ("The Jazz Singer") were on 
I lundly terms. After finishing " Big 
Hoy" in 1930, Al signed up with his 

old pal, Joseph Schenck, ar United 
Artists. Maybe Hollywood was 

wrong about any ill feeling between 
Jolson and his former studio — though 
Al is reported to have made this 

wisecrack: " I'm even now ! Iln\'\e 

signed up my wife for a five-yeai 
rout raci 

Having finished "The New York- 
er," Ins first picture in two \<:ns. 
lie is starting on a personal appeal ance 
tour. 



2<) 



♦ MOVIE CLASSIC TABLOID NEWS SECTION ♦ 

Swanson Lawyer Insists 
Luxuries Are "Necessary 



// 



Importer, Claiming Gloria Has Not Paid Him In Full, Asks Writ To Seize Costly 
Furnishings — Lawyer Opposes Writ On Ground Star Needs Them All 



By 
JANET BURDEN 




necessary adjuncts to the home 
of a screen star, and whether or 
not a pair of antique swans and 
an XVIIIth Century lamp base 
are "necessities" for a film career. 

Gloria's house furnishings cost 
$44,000, which, according to Lois 
Wilson, Gloria's closest friend, is 
not excessive for a screen star. 
"Her home isn't furnished in lux- 
urious style," says Lois. "Just in 
good taste. Many other film homes 
are more expensively equipped." 

It is said that Gloria felt that 
she has been overcharged for some 
articles, and held up the final pay- 
ments, hoping for some adjust- 
ments. According to common law, 



"Glorious Gloria," 
above, needs costly sur- 
roundings, says lawyer. 
Right, she watches hus- 
band, Michael Farmer, 
make movie debut in 
her new film 



HOW much 
f urn iture 
does a movie star 
need? That deli- 
cate question has 
arisen in a court 
suit against Gloria 
Swanson by Wil- 
liam J. Saylor, Ltd., 
New York im- 
porter, to attach the 
furnishings of the 
Beverly Hills home of the actress for 
alleged failure to pay $6,000 he 
claims is still due him. 

Somehow or other, the impression 
arose that Gloria might be able to 
spare $6,000 worth of furniture with- 
out greatly missing it. The question 
arose whether or not such rooms as 
"a powder room" and a "bar" are 




International 



every human being is en- 
titled to "a bed, a wash- 
stand and a chair." In 
Gloria's case, this might 
apply to her bed, which 
cost one thousand dollars, 
a green decorated console 
that is the nearest thing 
toawashstand,andanan- 



Lois Wilson, Gloria's 

closest friend, says her 

$44,000 furnishings are 

not luxurious 



tique red velvet arm-chair. But it 
does not — so the importer claims — 
include taffeta curtains for a bar 
room, a Pompeiian coffee table, two 
Napoleon plates, and a XVIIth Cen- 
tury map of Paris. 

"This formal and ornamental fur- 
niture is as necessary to a motion 
picture actress's business as a horse 
and wagon are necessary to a farmer," 
was the tenor of her lawyer's objec- 
tion to the writ of attachment. 

Without floor-length taffeta cur- 
tains, imported tile fixtures and a 
pair of genuine Angelica Kauffman 
paintings, perhaps Gloria Swanson 
would not be able to give the screen 
any more of her gorgeous and sump- 
tuous characteriza- 
tions. So it is for- 
tunate for Holly- 
wood and the world 
that at the last 
moment her attor- 
ney posted a bond 
for $7,000, thus 
leaving all her 
charming "necessi- 
ties" intact until 
Gloria returns from 
England, where she 
is now making a 
picture called 
"Perfect Under- 
standing." 

Gloria has always 
lived in a grand 
manner. When she 
was just beginning 
her career, she used 
to drive a huge ca- 
nary-colored car 
about town. Later, 
when she moved, it 
took one entire 
truck to transport her 
wardrobe. At another 
time, so the story goes, 
when she wanted a 
beach for her swimming 
pool and trucks were 
unavailable, she hired 
a fleet of taxicabs 
to transport the sand! 
What will be the out- 
come of all this? 



30 



♦ THE NEWSREEL OF THE NEWSSTANDS ♦ 



Claudette Colbert Takes Bath 
In Milk For De Mille Picture 

Playing Roman Empress In 
Sign Of The Cross, She 
Is First Star To Have Such 
An Experience — Longest 
Bath On Record, But Clau- 
dette Enjoys It 





CECIL B. DE MILLE, 
who has glorified Am- 
erican plumbing on the 
screen for so many years, 
has just created the most 
gorgeous bath of movie his- 
tory. In "The Sign of the 
Cross," Claudette Colbert, 
as the sensuous Empress 
Poppaea , disports herself in 
a black marble Roman bath 
filled to the brim — with milk ! 
Though the public will 
catch only a few tantalizing 
glimpses of a lady of Nero's 
conn preserving her beauty 
in this fashion, employees 

of the studio watched Claudette take 

the longest hath on record. For eight 
hours she was immersed in the white, 
foaming liquid while cameras clicked 



Claudette Colbert gays Ro- 
man ladies were riuht about 
milk baths beinn aids to 
beauty. Center, she re- 
hearses the hath scene, with 
water in the pool, but at the 
top, she bathes in a thousand 
gallons of real, honest-to- 
goodnesi milk 



tions of lime or ch 
a had effect on ( I 
sand gallons ol mi 
the huge Roman 



By DOROTHY DONNELL 

$200, even though the price per quart 
was five cents, due to a local milk war. 

It is said that Mr. De Mille, with 
his passion for accuracy, asked for 
asses' milk, which was used by the 
real Poppaea and other charmers of 
antiquity. But it hardly seems likely 
that audiences will notice the differ- 
ence. At first it was decided that no 
publicity should be given out on this 
milk bath, for fear that such a scene 
might be considered wasteful in this 
time of Depression. However, "The 
Sign of the Cross" has given work — 
and food — to nearly five thousand 
movie people. 

Claudette — the first movie beauty 
known to have taken a milk bath — 
says that the ladies of ancient Rome 
were not mistaken in their faith in 
milk baths as beautifying. It leaves 
the skin soft and velvety, and she 
plans to use milk on her face, neck 
and arms often hereafter- though 
not by the tubful! 

Although De M iIK* has gained .1 
reputation for his bath scenes, this is 

only the eighth such scene he has 

filmed in his fifteen years of picture- 
making. But he has popularized bath- 
ing scenes. Bathroom sequences are 
the rage in every studio these days. 

Men and women stats are being 
shown at their ablutions, clot bed only 
m soap suds and cum 1 a angll B. 



and batteries of 
K 1 i e g lights 
blazed down up- 
on her. By the 
time the bath 
was ended, the 
story goes, the 
milk was butter- 
milk. 

Other w bite 
liquids were ex- 
perimented with, 
and discarded. 
Nothing would 
photograph like 
milk except milk. 
I hen. too, soltt- 
alk might have had 
audette. ( )ne thou- 
Ik u ere poured into 
bath at a cost of 



■ \ 



♦ MOVIE CLASSIC TABLOID NEWS SECTION ♦ 





Acme 

Above, Buster, 
dressed as an Ad- 
miral, about to 
board his new 
"yacht." It is a 
Pullman car on 
rubber tires, with 
all the comforts 
of home. Below, 
the interior 



// 



// 



Acme 



Natalie Tal- 
madge (above) 
sold the former 
Keaton water 
yacht — so now 
he has to do his 
cruising on 
land 




Keaton Buys 

Land Yacht 
As Big Joke 

Comedian Acquires $52,000 Bus 
After Ex -Wife, Natalie Talmadge, 
Sells Boat — Says He'll Sail Over 
High Hills, Not High Seas 

By DORIS JANEWAY 



BUSTER KEA- 
TON is the new, 
proud and hilarious own 
er of a "land yacht." If you 
never heard of a "land yacht" before 
you will hear plenty of this one before 
Buster is through pulling real-life 
gags with it. 

In the first place, even its purchase 
was a gag. Buster has a strong sense 
of the ridiculous, and it struck him as 
highly ridiculous that he should ac- 
quire a "land yacht" right after his 
recently divorced wife, Natalie Tal- 
madge, had sold the Keaton water 
yacht. Buster swore that if he 
couldn't have a yacht on the water, 
he would have one on the earth. 

Buster's extraordinary traveling 
device is practically a Pullman car on 
rubber tires. The coach is ten feet 
wide and thirty-eight feet long. It 



carries twelve day- 
passengers, and seven 
can sleep aboard. The 
front"compartment"contains 

the driver's seat and an electric re- 
frigerator. Compartment No. 2 con- 
tains the " kitchen," the electric plant 
and a shower. Adjoining is a butler's 
pantry. The rest of the "yacht" is 
made up of the regular train-type of 
Pullman seats, which can be con- 
verted into " berths " for sleeping. In 
the rear is the " club room," appointed 
with electric fans, electric reading 
lamps, bridge tables and comfortable 
lounging chairs. The " yacht " weighs 
twelve tons and cost Buster fifty-two 
thousand dollars. 

As though the vehicle itself weren't 
enough of a gag, Buster is using it as 
a background for comedy stunts off 
the screen. Just recently, for instance 



he and Lew Cody, his old pal, drove 
the "yacht" up to the Fiesta at 
Santa Barbara. Clad in the full-dress 
regalia of an Admiral and a General, 
respectively, Buster and Lew alighted 
from the extraordinary motor, and, 
with medals and swords jangling, 
marched into the Santa Barbara Bilt- 
more Hotel. What's more, they 
played it absolutely "straight." Not 
a smile from the frozen-faced come- 
dian to reveal that he was pulling one 
of his gags. 

It has been rumored that this was a 
dress rehearsal for a personal appear- 
ance tour Buster is planning in his 
"yacht." And, also, it is rumored 
that Buster is trying to kid Natalie 
into marrying him again. Buster's 
jokes didn't prevent the divorce, but 
he may be hoping that a sense of 
humor will patch up things again! 



M 



♦ THE NEWSREEL OF THE NEWSSTANDS ♦ 



By MADG E TEN NANT 

On Visit To West Coast, 
Fay Webb Reveals That She 
Wanted Her Freedom In 
Haste, But Is Now Repent- 
ing At Leisure — Says, It 
Was Just A Childish Row" 




Rudy Vallee's Wife Changes 
Her Mind About That Divorce 



SAID Will Rogers, 
"Guess Fay and 
Rudy decided to make 
up till after the Depression is 
over." A New York newspaper 
headlined, "Rudy Croons Over 
'Phone; Divorce Off." Said Fay 
Webb Vallee, actress-wife of the 
famous crooner, "There isn't much 
to tell. We just had a — a sudden 
difference of temperament, and 
now we see how foolish we were 
and we're happy again, and the 
only thing I brought back from 
Reno is a cold in the head!" 

"But are you sure it's all fixed 
up this time?" she was asked. 

Fay, who accentuates an almost 
foreign brunette coloring by a 
dead-white make-up, was emphat- 
ic. "Oh, yes! We're back together 
again forever. I was just a little 
fool. Rudy never wanted a divorce 
at all, but he was a perfect dear 
and told me to get one if 1 thought 
best. He always lets me do what 
I want. 

"I hat was how we happened to 
buy that twenty-five room Beverly 
Hills house. We were just out for 
a drive and happened to see it, and 
I fell in love with it. I said, 'Oh, 
let's buy it!' and Rudy said, 'All 
right' — so we took ir then and 
there. And we didn't need a 
California home at all! As long as 
Rudy has his radio work, we'll 
have to live in New York. But we 



Above, the $100,000 Beverly 
Hills home that the Vallees 
bought last year on an impulse 




both keep hoping and planning to 
come out West to stay some day — 
move from an apartment into a big 
house. 

" But I think we love our Maine 
lodge best of all. We had just 
come from up there when we had 
our — our difference of tempera- 
ment. It was all so silly! How 
could I ever have dreamed of a 
divorce? Of course, the news- 
papers played it all up too much, 
about my crying over my lost 
overnight bag, and everything. I 
made up my mind to start for 
Reno so suddenly, and there was 
so much luggage — but I missed the 
overnight bag as soon as I got to 
the station. I prized it because it 
was a gilt from Rudy. 

"Reno? I hardly saw the place. 
As soon as 1 got there, my lawyer 
met me. He had been trying to fix 
things between us, and — well, that 
evening we talked with each other 
long-distance. We talked a long 
while, and decided we were making 
a mistake. And that's all there is 
to ii . Now that I'm here I skill 
make a little \ isit w ith m\ lamiK . 
but I'll be going back to Rudj in a 
lew weeks. I'm so happy !" 

\'.i\ Webb and Rudy \ allee 
were secret 1\ married in |ul\. 
1931, in West 
Orange, New Jer- 
sey. 1 hej first 
mei in I loll vw ood. 



mil RikIv dei Ided 
they wore "making a mi>- 
take" in Kcttinu a divorce 



33 



♦ MOVIE CLASSIC TABLOID NEWS SECTION ♦ 




Married? Bette Davis 
And Joan Blondell 
Wont Say Yes Or No ! 

Joan Was Reported Wed To George Barnes, But 
Won't Confirm Or Deny Report — Bette Is Suspected 
Of Being Bashful Bride Of Harmon O. Nelson, Jr. 



Friends of Bette Davis (above) suggest- 

that the pretty blonde who recently 

eloped with her schoolgirl sweetheart 

was someone named Betty Davis! 

By Joan standish 

TOAN BLONDELL started it 
J when she returned from a vaca- 
tion trip in Oregon and refused to 
confirm or deny newspaper stories 
that she and George Barnes, cam- 
eraman, were married. "I won't 
say yes, and I won't say no," 
smiled Joan — and though re- 
porters begged, and publicity men 
entreated, that was her final an- 
swer to the reports that she and 
George had been honeymooning. 
Though the Oregon people swore 
that a marriage license was issued to 
the couple and that they were united 
in holy wedlock by an Oregon justice 
of the peace, reporters couldn't get a 
word of the details from Joan and 
George, themselves — not, it was 
hinted, until George's divorce was 
final in California. 

And now Hollywood hears rumors 
that Bette Davis is another "bride" 
who isn't in the frame of mind to 
come out and admit that she is the 
"Betty Davis" who recently eloped 
with a young man named Harmon O. 
Nelson, Jr. If she and her "news- 
paper-reported" husband are living 
quietly in a beach house down below 
Mahbu, that's something for the 
newspaper boys to discover all by 
themselves. 




Wide World 

"I won't say yes — and I won't say no." 
With these words Joan Blondell threw 
reporters into confusion when they asked 
if she was wed to George Barnes (with her, 
above) 

But once upon a time, a little 
blonde Davis girl, who was to grow 
up and look like Constance Bennett, 
and a handsome young boy named 
Harmon O. Nelson, Jr., were school 
sweethearts in a small town in Massa- 
chusetts. They were semi-officially 
engaged — though they hadn't planned 
anything like an elopement; they 
were too ambitious for that. The girl 
wanted to go on the stage, and the 
boy had ambitions to become a well- 
known dance orchestra leader. 

She went to New York, succeeded 
in getting on the stage and eventually 
traveled out to Hollywood and fame; 
the engagement lapsed. But not so 
long ago, she went East on a personal 
appearance tour, and whom should 
she meet but a certain Mr. Nelson, 
who had scored quite a success of his 
own as a dance band leader in Eastern 



resorts. A long story that had begun 
practically in childhood, and never 
forgotten by either, was renewed and 
continued when Mr. Nelson tempo- 
rarily forsook his band activities and 
went out to Hollywood. 

Bette Davis, the movie actress, 
had gone on record as saying that 
she would never marry until she was 
finished with her career. But it was 
none other than a blonde Constance 
Bennett-like Bette Davis who, only 
recently, suddenly appeared at the 
marriage license bureau in Yuma, 
Arizona, with a delighted and grin- 
ning young man at her side. In view 
of her publicized view about matri- 
mony, the lady was surprisingly cool 
and collected. The Justice remarked 
about it. 

"You are a very cool young lady 
to be embarking on your first matri- 
monial experience," he said. 

"Nothing new to me," fibbed the 
pert and lovely blonde. "This is my 
third attempt." 

The newspapers carried the story 
of the elopement the next day. But 
if you are to believe the friends of 
Hollywood's latest Yes-And-No 
Bride, maybe the Yuma girl was 
Bette Davis and maybe it wasn't. 
Maybe, they coyly suggest, the name 
was Betty Davis, instead. 

But perhaps the champion Yes- 
and-No Bride of them all is — or 
maybe I should say was — Lina Bas- 
quette. A few months ago, she was 
seen everywhere with Teddy Hayes, 
former Dempsey trainer — and they 
were rumored engaged. Lina denied 
it. Then a reporter claimed that 
Lina and Teddy had been married in 
Newark, New Jersey, on October 31, 
193 1. Lina said "It must have been 
two other people." Meanwhile, she 
said she and Teddy would wed soon. 
Some time later, newspapers report- 
ed Lina had been divorced from Hayes 
— whom she had married last October! 



34 



CAROLE 

LOMBARD 

The girl that Bill Powell talks 
about on page 15 is, to all 
appearances, either praying 
that no more illness will inter- 
rupt her career or praying 
that nothing will happen to 
her marriage if she manages 
to stay well. In any case, she 
looks surprisingly innocent for 
a girl who's supposed to be 
oh, so sophisticated! Perhaps 
we're looking in on a dress 
rehearsal of Carole as she'll 
appear in "Virtue" — her first 
picture in months 

Acme 



* 



- 






Fryer 



Kay, who does insist on being different, has invented a new kind 
of shoulder strap — it defies the law of gravity, and occupies the 
same position as that rainbow that's 'round her shoulders. Also, 
it kept her from shrugging away a chance to play in "A Very Pri- 
vate Scandal." She postponed her honeymoon again to take the 
offer. Now she's Ronald Colman's wife in "I Have Been Faithful" 



KAY FRANCIS 



36 




Fryei 



LORETTA YOUNG 



You have to get up early in the morning to bake a better pumpkin 
pie than Loretta. She's getting in practice tor Thanksgiving — but 
modestly wonders if this little melting mouthful will turn out right 
without a prayer or two. Incidentally, the flowing gown and 
the bare feet are .indications that Loretta is also practising for 
the role of The Nun in "The Miracle," the famous Passion Play 



37 






•,#£ 






Lionizing 

Some Babes 

From The 

Jungle 



V" 1 * 



Some relatives of Leo, the lion, have ar- 
rived in Hollywood — and is Hollywood 
taking them to its arms? Up at the top, 
John Barrymore points out to Myrna Loy 
how to lull a tough baby — any variety — 
to sleep. Above, Johnny Weissmuller, who 
played only with full-grown growlers in 
"Tarzan," gives a trio of youngsters the 
well-known Weissmuller jungle hug. Left, 
you see four little wildcats — counting Lupe 
Velez, who holds her playmates with the 
same technique as Johnny. Does that 
prove she has had her eyes on Johnny? 



38 




Just A Teeny Hallowe'eny 



The frost may be on the pumpkin, but it doesn't seem to bother 
Nancy Carroll a bit. She's out on the back fence, courting a chill 
and hoping to intercept a black cat that may be a witch in disguise. 
Secretly, of course, what she's waiting for is the time to go to that 
Hallowe'en masquerade in her best bib-and-tucker — and give the 
other girls a chill. She's likely to do that in "Hot Saturday," too! 

39 



19 



SPENCER TRACY 

When Jimmy Cagney walked 
out, Lee Tracy got one of his 
roles ("Blessed Event") and Spen- 
cer Tracy — no relation to Lee — 
got another. Its title is a knock- 
out: "Twenty Thousand Years in 
Sing Sing," and it is based on 
the autobiography of the same 
name by Warden Lawes, who 
believes that prisons should do 
more to build men than to punish 
them. Do convicts deserve a 
square deal? That's something 
you will have to figure out after 
you see Spencer behind the 
bars, making a convict so human 
that he might be someone you 
know, yourself! 

We/bourne 






Little Caesar 



Tosses 
Some 

Verbal 
Bombs 



It isn't often that a character actor becomes a 
star, as Edward G. Robinson has. And even 
less often do you meet a star who isn't afraid 
to speak out, as he does in this interview. 
Read what he says and you will have a brand- 
new mental picture of the real Robinson — 
who is always somebody else on the screen 



By GLADYS HALL 



EDWARD G. ROBINSON said to me, "I was 
born in Roumania and — you can have it!" 
From there we went on to other hates. It 
' was tonic to talk to an actor who does not 
smile a stock smile of beautiful dimples and cupid 
curves and declare that all is well with this best of all 
possible worlds. It was more than tonic to talk with a 
man who dares to bare his ideals without being flippant; 
a man who dares to laugh at blind patriotism and 
national boundaries and sectarian religions and the 
precepts we are taught as children; an actor who de- 
mands the right to be frank. 

"I'll never be homesick for Roumania," he said, "be- 
cause there is no chance there for a man to amount to 
anything without royal favor. Even assuming that 
you are the best lawyer or the best actor or the best 
plumber in Roumania what of it? What does it 
matter? I lived there for ten years of my childhood and 
I remember it as a place where I was shut in, where I 
could not find space to move and breathe and grow. 
"I hate the whole hysteria of patriotism, so-called 
the hysteria of flags flying and martial music and cheers 
and war cries. I have hated them ever since I saw flags 
waving, and heard cheers and cries and music, while 
half of the world's young lay dead because of stupid 
men 'protecting' little lines drawn on maps. Humanity 
is the only thing that matters — men, women, children, 
whether they are born in Siam or South Dakota, what- 




Lippma 



ever their god, their color or their occupations may be. 
"I hate religious creeds and the sureness of each one 
that their God is the only God. I hate labels and tags 
for anything. As if one can tag and label so funda- 
mental a thing as the God of a man! 

Wanted to Remake the World 

WHEN I was a raw and flaming youth, I formed 
a society composed of a Jew, a Catholic, a 
Protestant and a Socialist. We were determined, we 
four, to change the world, to smash all the old isms and 
limitations, to make all men brothers, to bring about 
the millenium when there would be no more war and 
no further misunderstanding among mankind. I hate 
the thought that, when Youth goes, these flaming ideals 
go, too. It is only the Youth of the world who can bring 
such things as these to pass. 

"I was a Socialist for a time. I believed, not in the 
equality of man — even then I hated the flatness and 
dreariness and stupidity of that idea- but in a more just 
and even distribution of wealth. I still believe in that, 
and I still believe that eventually some such state <>t 
affairs will come to pass. 

"I hate the horrible contrasts one is faced with daily 

one man riding in upholstered luxury; another man, 

half a mile away, breaking his heart because he can't 

(Continued on page H0> 

41 



The Headline History 



O 



f CHAPLIN 



Below, 
Chaplin in 
the make- 
up that 
made him 
famous — a 
subject for 
headlines 




1918-1932 

By MURIEL BABCOCK 



CHARLES 
SPENCER 
CHAPLIN, 
the diminu- 
tive English comic, is 
supposed to be one of 
the geniuses 
of the pres- 
e n t -day 
world. Prac- 
tically every- 
body admits 
that he has 
no peer as a 
funny man of 



personal life, who has had so many mix-ups — marital, 
financial, social. Charlie not only has a positive genius 
for having trouble in love affairs and in money matters, 
but lately, touring around Europe, he has shown a 
talent for becoming involved in controversies of a more 
international scope. 

When Charlie went abroad, he said he wanted a rest 
and hoped to find relaxation in new faces and new places. 
Did he succeed ? Well, England, his homeland, resented 
his refusal to appear at a "command" performance of 
the King; France gave him the ribbon of the Legion of 
Honor and then turned loose a flood of adverse editorial 
comment; Germany listened to his comments on their 
country, heard the refusal of the former Crown Prince 
to tea with him, and laughed; Czecho-Slovakians were 




Left, Chap- 
lin and the 
Prince of 
Wales sit 
side by side 
at an ice 
carnival in 
London , 
N o v e m - 
ber, 1931 



Acme 



pantomime. 
But if Charlie 
has a genius 
for making 
people laugh, 
he also has a 
great talent 
for getting 
into the head- 
lines. 

There is 
probably no 
other movie 
star who has 
gone through 
so much an- 
guish in his 



annoyed because 
he didn't visit their 
country, and — 
well, goodness 
knows how many 
beautious maidens 
were peeved be- 
cause he wouldn't 
bring them back 
to America and 
star them in pic- 
tures. 

Just glance over 
his career of 
trouble, as told in 
the headlines of 
the dailies since he 




September, 1931 — Chaplin meets 

leader. Gandhi had never heard of 

when told that Chaplin had 




Richee 

Sari Maritza (above) shared head- 
lines with Chaplin in February, 
1931, by being his newest "dis- 
covery" and by tangoing with him 
in London. She denies romance 



began getting famous in 
1918: 

August 19, 1918— Mil- 
dred Harris, screen actress, 
admits engagement to 
Charlie Chaplin, screen 
comedian. Says she will 
retire when wed; Chaplin 
also planning retirement at 
end of present con- 
tract. I 

November 9, 1918— 
Chaplin marries Mil- 
dred Harris. 

July 9, 1919— Baby 
son born to the Chap- 
lins yesterday, dies; 
sorrow enthrones 
household. Baby born 
with one of vital or- 
gans missing; death 
inevitable. 

March 21, 1920— 
Mildred Harris Chap- 
lin says she has not 
seen husband 





Paulette Goddard (above) is the 
newest heart interest in Chaplin's 
life — and columnists are predict- 
ing marriage headlines. They 
are seen together constantly 



Above, the very newest portrait of 
Lita Grey Chaplin, the comedian's 
ex-wife and mother of his two sons. 
She recently signed a film contract 
for them, which Chaplin opposed 






Acme 



Mahatma Gandhi, great Hindu 
him, but was eager to see him 
made millions laugh 



Above, Chaplin's two sons — Sydney (left) 
and Charles, Jr. — arrive from abroad to 
enter films with mother. But Dad objects 



in months. Says she 
does not want divorce - 
only Charlie. "I still 
love Charlie, and his 
conscience must be hurt- 



Above, Charlie in a serious role — appearing in 

court to fight his sons' entry into films. He 

testified screen work would tax their strength and 

might impair their futures 



ing him." Rumored she will resume career. 
April 8, 1920 -Charlie Chaplin and 
producer engage in fist fight in Los Angeles 
Alexandria Hotel lobby while Mildred 
Harris Chaplin, in San Diego, is dancing 
with the Prince of Wales. Chaplin out- 
classed in size; Jack Pickford takes him 
home. Quarrel said to have arisen from 
producer's efforts to reconcile comedian 
and wife. 

August 3, 1920 — Mildred Harris Chap- 
lin sues for divorce on grounds of extreme 
mental cruelty and bodily injury. Says 
comedian refused to pay their bills, treated 
her guests disrespectfully, stayed our 
nights. 
November 3, 1920 -Mildred Harris Chaplin granted 
divorce and #200,000 alimony from comedian. 

March 29, 1921 Charlie Chaplin bringing mother, 
Mrs. Hannah Chaplin, to live with him in this country. 
{Continued on pa£<- 56) 



43 



George Raft Won't 



The newest sheik of the 
screen — and how the 
Hollywood girls are rushing 
him! — likes to have the fair 
ones use their vanity cases. 
He'd rather see them pale 
with powder, than dusky 
with sun-tan. That's be- 
cause he's a true son of 
Broadway — and maybe 
you think he isn't homesick 
in Hollywood! 



Look At 
Who 



Don't 



Girls 
Wear 



THE girls in Holly- 
wood have proved al- 
most universally dis- 
appointing to George 
Raft, whose sensational rise 
as a romantic menace has 
those same girls all in a dither. 

"Women don't look nice 
in bathing suits and 
all covered with 
olive oil and sand," 
he complains. "They 
don't look nice play- 
ing tennis in shorts — 
perspiring and with ban 
danas tied around their 
heads and with their 
hair out of curl. And 
make-up!" 

One gathers, from his 
shocked expression, that a 
girl without make-up looks 
more disconcertingly undressed 
to George than any lady in a 
night-club chorus, attired in pow- 
der, paint and one spangle. The 
sunburn which our picture beau- 
ties suffer so much to acquire, he re- 
gards as a distinct feminine liability. 
He likes pale ladies, in svelte, dark, 
smart attire, having tea at the Ritz, 
adorned, perhaps, with one exquisite 
orchid. 

George sometimes wonders if he belongs 
in Hollywood. He is almost as alien and 
lonely a figure as the cannibal gentlemen 
that director W. S. Van Dyke brought back 
from Africa after "Trader Horn" — and nearly 
as forlorn. When he first arrived, he used to 
view everyone with suspicion. He used to start 
slightly if anyone spoke to him suddenly and he 
used to give almost the effect of peering around 
corners, as if expecting an ambush of some sort 
(Continued on page 76) 
44 



HOMESICK— THAT'S ALL 

You haven't heard yet that George has 
lost his heart to any Hollywood charmer. 
So far, he hasn't met one who was pale 
enough. 

George considers the Hollywood sun-tan 
a distinct feminine liability, and he doesn't 
like to see girls in beach pajamas. 

Give George the Broadway type of girl 
— who knows her make-up, and never ne- 
glects to dress smartly! 

In fact, you could give George all of 
Broadway — and he wouldn't object. 

He's homesick for the girls, the Broad- 
way boys, the noisy pavements, the bright 
lights, the traffic jams, the night-clubs, din- 
ner at seven in the morning, breakfast at 
seven in the evening. 

He's an exile in Hollywood! 



Make 

-Up 




By 

Helen 
Louise 
Walker 




s 



CONSTANCE 
BENNETT 

Connie has a new haircomb, 
new, luxurious gowns (Paris 
please copy!) and a brand-new 
sadness — all for "Rock-a-Bye," 
in which she hopes to give your 
heart a tug or two. Becoming 
semi-tragic, she plays a glam- 
ourous actress whose life seems 
rich and full, but is secretly 
empty — because she has not 
known motherhood. With Con- 
nie's own longing for a child no 
secret, women the world over 
will be curious to see her as 
The Girl Who Sometimes May 
e Connie, Herself! 





C. S. Bull 



Clark has lost the mustache he cultivated for "Strange Interlude" 
— and he feels sort of undressed without it. Every time a 
photographer comes his way, he leaps for a cigarette — just to 
steel his nerves. He liked that mustache; it was a good disguise. 
But the public demanded a Gable with a shaven, as well as a 
stiff upper lip — and it's thus that you will see him in "Red Dust" 

46 



CLARK GABLE 







TALLULAH BANKHEAD 
AND 

ROBERT MONTGOMERY 



Here is an une> 
have seen if stuc 
ing stars to rival 
pictures. M-G-f 
muss up Bob's he 
as if Bob is con 



ft 
1 



One's Dark — 

One's Fair — 
But Both Are There! 



June Clyde, below, hasn't heretofore been 
known as a crepe-hanger — so we're prob- 
ably- telling tales in revealing that June 
likes nothing better than to hang crepe 
(preferably apricot-colored) on her lovely 
person. Perhaps that is the secret of this 
little blonde's poise in those ingenue roles 
in "Back Street" and "The All-American"! 



s- 

the 
She 
ith- 
and 
[of 
on 
•/ay 





ALINE MACMAHON 



Her first name sounds Irish, her last name sounds Scotch — and 
she's a mixture of both, with a little Russian for good measure. 
But that doesn't explain, entirely, why she is becoming the most 
famous picture-stealer in the business. She went in for pathos 
as the head nurse in "Life Begins," and then comedy as a tutor 
in "Once in a Lifetime" — and stole both. Here's a real actress! 

40 



■r 

> 



The exterior of the 
new Farrell retreat 
looks Spanish — but 
inside you'll find that 
Charlie hasn't forgot- 
ten he came from 
New England. Colo- 
nial prints, curtains 
and benches make the 
living room seem like 
home to the boy 
from Cape Cod 







An Old Cape Codder 

Goes Back To The Sea 

Charlie Farrell grew up with the roar of the Atlantic in his ears, 
and now, at long last, he has found his way back to the sea — 
though this time it's the Pacific surf he's hearing. Above, you see 
the exterior of the new house that he — and Virginia Valli, of 
course — have just built at Malibu Beach. And now that he has 
finished "Wild Girl," with Joan Bennett, he intends to enjoy his 

place in the sun 



George Brenfs 

Irish luck 

is just 

beginning! 



After years of tough breaks, this young Irish- 
man, who recently married Ruth Chatterton, at 
last is coming into his own and is on the verge 
of settling down, says Clifford W. Cheasley, the 
noted Numerologist. From George's name and 
birthdate, he also predicts an emotional dis- 
appointment for him — perhaps in 1935 

By CLIFFORD W. CHEASLEY 

A PPLYING the rules of Numerology or the Science 

/\ of Names and Numbers to the name of that 
j— % rising young screen star, George Brent, reveals 
jL \. the why and wherefore of his character, his 
ability and his success. 

Ever since he was a child, his ambition to develop his 
personality, to express his ideas and to do adventurous 
things without self-consciousness and shyness, must have 
been apparent to those who have known this chap who has 
just married Ruth Chatterton. 

For George Brent has "3" for the symbol of his inner 
nature, his desire and individuality — and this is the sign of 
personality, and the reason why, as his experience in the 
theatre and on the screen increases, he will unconsciously 
acquire the trick of 
"getting across" to his 
audiences that it is 
George Brent, himself, 
who is talking and act- 
ing and not an individ- 
ual acting a part. 

From his Irish an- 
cestry (icorge inherited 
a keen imagination and 
a preference to believe 
in the fanciful, fairy- 
book side of life, in 
romance and adventure; 
and tins background 
has made it necessary 
for him to go through 
sonic toughening ex- 
periences before he could 
meet life in a practical, 
matter-of-fact way and 
{Continued on page 74), 





How To Get A General 

NUMBERSCOPE OF YOUR OWN 



For your general Numberscope, 
which will outline briefly your 
characteristics, health, wealth, 
love and work, send your full 
name (no initials) to Clifford W. 
Cheasley, MOVIE CLASSIC, 1501 
Broadway, New York, N. Y. 
Enclose 3c stamped, self-ad- 
dressed envelope and 10 cents 
to cover clerical expenses. 



General Forecast for November, 1932 

In this year of 1932, which Numerology indicates as a period 
for balancing, adjusting and harmonizing of individual and col- 
lective thought, as well as conditions, September proved to be 
very important, both in the United States and abroad. The 
phases of world-wide economic settlement and rearrangement, 
which will have so much bearing upon more immediate prosper- 
ity, will go forward very successfully in November. In fact, the 
whole value of the month is to reflect, in the important events, a 
high example of settlement which will lead to improvement in 
general conditions of finance and industry everywhere. 

There will be developments affecting political changes in this 
country and in Europe and agreements affecting international 
relations, which were all discussed 
and arranged behind closed doors 
during October, will be made public 
and the immediate effect will be a 
reaction toward success and satisfac- 
tion from public opinion. Regular, 
general business will benefit from 
this month, rather than promotion or 
the security markets. 

Individually, November is the 
psychological time to settle obliga- 
tions and to receive settlement from 
many others. Think prosperity, talk 
prosperity and act as prosperously as 
possible, and in all difficulties that 
arise, the keynote of action is GOOD 
JUDGMENT. 










51 




John Boles g ives 

some tips to young 

Married Couples 

John has just made a big hit as the unhappy husband in "Back Street" — but that only proves he's 
a good actor. For he s just the opposite in real life. He married young, and had a struggle to 
get ahead — but he's still married to the same girl, and they're still happy. In this interview, he 

reveals some of the reasons why! 



By TERRENCE COSTELLO 



WHEN Ann Harding gave Harry Bannister his 
freedom because they thought their marriage 
was holding him back professionally, a great 
burst of controversy went up in Hollywood. 
Hundreds of married people began asking themselves if 
being married was, perhaps, the reason they were not 
advancing faster. Divorce petitions began to mount. 
And then, who do you suppose stepped up in defense of 
the beleaguered institution of Matrimony? 

None other than John Boles — who has been scoring 
sensationally all over the country as the somewhat de- 
fective husband in "Back Street" ! 

When it is recalled that the tall Texan had a similar 
role, and a similar success, in "Seed," this may appear a 
little difficult to understand. But the truth is, when John 
is playing truant husbands on the screen, he is just doing 
his job — acting. All Hollywood knows that as a husband 
Mr. Boles should take the victor's stand and receive an 
Olympic award for distinguished service. So when he 

52 



begins to hold forth on the subject, this handsome young 
matrimonial veteran is well worth your attention! 

"Marriage is no bed of roses," John says flatly, "and 
anyone who says that it is, simply is being absurd. It is 
one of the most difficult things in the world at which to 
succeed. And here again is borne out the axiom that it is 
only the difficult things to achieve that are worth having 
in the end. 

Happy Couples Have to Fight 

"T'VE been asked a number of times just what the recipe 
A. for the success of my marriage has been. In a kidding 
way I usually answer, 'Fight like hell — and hold on.' 
Actually, there is a whole lot of truth in that statement, 
facetious as it may seem. For I've found that it is usually 
the people who are the most fond of one another who dis- 
agree the most violently. 

"That is because there is a bond between them — some 
(Continued on page 64) 



AS YOU 
DESIRE ME 




k 



to make skin soft, youthful 
-firm yet yielding 



this much OLIVE OIL goes into every cake of Palmolive 



RIGHT now — touch your own skin with your finger tips. 
- Is it soft, smooth, youthful? Is it firm yet yielding to 
your touch? Is it quite as you desire it? 

Then think! How can you seem desirable to others? 

Skin can be kept young indefinitely. But you must follow 
expert advice. Read the simple rule experts give you. 

"Olive oil — the great beautifier." But how to use it? More 
than 20,000 beauty experts answer — in soap — in Palmolive 
— the one great soap the beauty ingredient of which is 
largely olive oil. Use it — they say — diligently, faithfully. 
Use it on face and neck — on the whole body. Rub the rich 
youth-giving lather right into the skin. 

Your reward will be the skin of youth. Because Palmolive 
docs soothe, smooth and soften skin. It does tone skin to 
youthful firmness. It will give your skin that charm — that 
something that makes you — keeps you desirable. 



\(jUll> i%uuJr Sd^CrO^laAAb QjrrddU<)OuO-ny 




"J 



53 



Which star do 



"Beauty 
is not a matter 
of Birthdays" 

screen stars declare — and 
these pictures prove it 

WHICH of these lovely stars do you 
think most beautiful? Your choice may 
be charming little Virginia Lee Corbin, who 
is only eighteen. But, too, it may be the 
fascinating Nazimova, who is over forty! 

Surely, you will decide, beauty is not a 
matter of birthdays! These recent photo- 
graphs prove the screen stars keep youthful 
charm. You want to share their secret! 

"We stars have to stay youthful," Holly- 
wood stars explain. "So we're very careful 
about our complexions. Almost all of us 
use Lux Toilet Soap, because it's such a sure 
way of keeping your skin youthful!" 

9 out of 10 screen stars use it 

Of the 694 important Hollywood actresses, 
including all stars, 686 use this fragrant soap 
which is so beautifully white! It is official 
in all the great film studios. 



you 
most 




BEVERLY 
BAYNE 



Lux 



54 






think 







VIRGINIA 
LEE CORBIN 



Toilet Soap 



NOEL 
FRANCIS 



55 



The Headline History Of Chaplin 



(Continued from page 43) 



September 2, 1921 
— Comedian's earn- 
ings disclosed in 
court report. He re- 
ceives 5125,000 for 
a two-reeler and 
$140,000 for three 
reels. 

May 23, IQ22 — 
Mother detained at 
Ellis Island to be 
examined, pending 
permission to stay 
in this country. 

September 2, 1922 
— Chaplin rumored 
to be in love with 
Peggy Hopkins 
Joyce. 

November 25, IQ22 
— Chaplin rumored 
engaged to Pola 
Negri. Charlie, 
chaperoned by 
chauffeur, and Pola 
by woman compan- 
ion, return from 
trip to Santa Bar- 
bara.; 

January 2Q, 1923 
— Pola Negri, snug- 
gling on shoulder of 
Charlie Chaplin, ad- 
mits engagement to 
comedian. "Char- 
lie and I are en- 
gaged," she tells re- 
porters. "We have 

been engaged for long time, but decide to 
say nozzing about it." Betrothal kiss given 
in front of reporters. 

March 2, 1923 — Negri-Chaplin engage- 
ment broken. Many fireworks. 

March 21, 1924 — New batch of rumors 
about Charlie, who denies them all, includ- 
ing stories that he will direct Mary Pickford 
in films, that he has broken with Edna Pur- 
viance (the star of "A Woman of Paris," 
which he directed last year), and that he is 
engaged to Estelle Taylor. 

May jo, 1924 — Sued for $50 by Leo Loeb, 
on charge of plagiarism. Writer claims 
Chaplin used Loeb scenario, "The Rookie," 
for "Shoulder Arms." 

November 24, 1924 — Chaplin reported on 
way to Guaymas, Mexico, to wed Lita Grey, 
his schoolgirl leading lady in new film, "The 
Gold Rush." Vexed at disclosure of plans. 

November 27, 1924 — Chaplin amazes Mex- 
icans. Populace cannot understand fishing 
trip a few hours after wedding. 

November 28, 1924 — Chaplin home, elud- 
ing reporters and curious at train. Goes into 
seclusion at Beverly Hills home. Bride only 
16, birth record discloses. Gave age as 19 in 
Mexico. Bride to face inquiry about com- 
pulsory education. Someone else will take 
over her role in "The Gold Rush." 

January 7, 1923 — Mrs. Chaplin expecting 
baby. 

January 31, 1923 — Comedian denies di- 
vorce talk. Still living under same roof with 
wife. 

June 29, 1923 — Son born to Chaplins. 
Named Charles Spencer Chaplin, Jr. 

March 31, 1926 — Second son born to 
Chaplins. Named Sydney Earl Chaplin, 
after comedian's brother. 

September 8, 1926 — Comedian wants to 
play Napoleon. Would like Estelle Taylor 
for Josephine. 

September 26, 1926 — Forty-thousand-dol- 
lar blaze at studio endangers comedian and 
leading lady, Merna Kennedy, at work on 
"The Circus." 




In November, 1926, Lita Grey Chaplin, "schoolgirl wife" of Charlie Chaplin, sailed 
for Honolulu for a brief holiday — taking Charles, Jr., with her. The comedian was 
at the boat to see them off. Less than a month later, the couple parted. Things happen 

that suddenly in Chaplin's life! 



November 10, 1926 — Mrs. Charlie Chap- 
lin, with Charles, Jr., in her arms, sails for 
brief holiday in Honolulu. Comedian at 
boat to see them off. 

December 2, 1926 — Lita Grey Chaplin 
leaves Chaplin's home and takes babies with 
her. Charges ill-treatment. 

January 8,1927 — Chaplin files suit against 
women's magazine for life-story written by 
Jim Tully, former pal of comedian. Asks 
$500,000 damages, and suppression of re- 
mainder of story. 

January 11, 1927 — Chaplin leaves for 
New York. All work on new comedy post- 
poned. Gives out statement. Very sad. 
Loves babies, asks public to withhold judg- 
ment. 

January 16, 1927 — Comedian collapses 
under nervous strain in New York. 

January 17, 1927 — Chaplin injured in fall 
from bed. Nurse in attendance. 

March 6, 1927 — Still more grief for Chap- 
lin. Government may take drastic action 
in income tax case. Federal investigators 
accumulate mass of data relating to income. 
$2,500,000 tax liens held. 

June 9, 1927 — Lita Grey Chaplin files di- 
vorce complaint of forty-two pages. Charges 
mental cruelty in social and marital rela- 
tions; asserts life was threatened; estimates 
Chaplin's fortune at $16,000,000. 

June 13, 1927 — Chaplin files answer to 
wife's divorce complaint with cross-com- 
plaint, charging her with love affairs, ex- 
travagances, and denying charges in her 
complaint. Asks for decree and custody of 
two sons. 

June 13, 1927 — Chaplin visits Sing Sing 
prison in company with Ambassador Alex- 
ander P. Moore. 

.1 ugust 4, 1927 — Chaplin attorneys fight- 
ing. Young and Young withdraw from di- 
vorce case. Scandal bomb nearly explodes 
when Young is about to name "a certain 
prominent motion picture actress," but 
Judge halts naming of "other woman" on 
excited objection of E. T. Murray, uncle 



of Mrs. Chaplin. 
August 22, j 927 
— Mrs. Chaplin 
granted divorce. 
Chaplin pays al- 
most $1,000,000 for 
peace in his private 
life.Wifegets$625,- 
000, with $200,000 
for trust fund for 
sons. She is award- 
ed custody of chil- 
dren. Divorce 
granted on grounds 
of mental cruelty. 

October 13, 1927 
— Film star and 
company of fifty 
forced to stop work 
on picture, "The 
Circus," because of 
disappearance of 
two circus wagons, 
which U. C. L. A. 
students had taken 
to campus for use 
in traditional col- 
lege pajamarino 
bonfire. 

November 1 3 ,1 927 
— Plagiarism suit 
brought by Loeb 
won by Chaplin. 

January 12, 1928 
— Pays government 
$1,670,638 for six 
years' tax lien. 
June 6, 1928 — 
Chaplin subpoenaed to testify in case of 
Sheldon Clark, accused of hammer murder 
of Don Solovich, former Chaplin butler, on 
a lonely road in Utah. Clark says Solovich 
had planned suit for a million dollars against 
Chaplin. 

July 21, 1928 — Chaplin called to court 
again. Two accountants suing one another 
over payments due in investigation work in 
Chaplin divorce case. 

August 24, 1928 — Divorce of Lita Grey 
Chaplin becomes final. Rumor that she w ill 
wed Roy D'Arcy, screen actor. 

August 30, 1928 — Funeral to-day for Mrs. 
Hannah Chaplin, mother of Charles and 
Sydney. Cannot locate Sydney in France, 
where he is supposed to be working. 

November 13, 1928 — Chaplin defendant in 
new plagiarism suit. $100,000 is sum asked 
by Antoinette Kopetsky, writer, who charges 
he appropriated her story for "The Circus." 
February 26, 1929 — Comedian seriously ill 
with ptomaine poisoning. 

February 28, 1929 — Wins award of Acad- 
emy of Motion Picture Arts and Sciences. 
April 18, 1929 — Works hard on fortieth 
birthday on "City Lights," which will be 
Chaplin's challenge to the talkies. Rejects 
offer of James Cruze to appear in talking 
picture — talk, sing and dance for a million 
dollars. 

May 31, 1929 — Comedian confined to 
home because of lumbago brought on by 
playing tennis. 

June 19, 1929 — Wiseacres predict that 
romance between Chaplin and Georgia Hale, 
former leading lady (in "Gold Rush") will 
end in marriage. 

March 9, 1930 — John Gilbert denies ru- 
mors that he will make silent picture with 
Chaplin. 

October, 1930 — Chaplin turns down $650,- 
000 radio bid for 26 weekly broadcasts of 
fifteen minutes each. Will stay silent at 
any cost. 

January 31, 1931 — Police battle crowd 
(Continued on page 58) 



56 




don't worry about me/ iVe remem- 
bered EVERYTHING - INCLUDING A LAST 
CHECK UP WITH THE DENTIST AND ENOUGH 
COLGATE'S TO SEE ME THROUGH 



The quarter saved on every tube of 

Colgate's means six francs to me in Paris 



I'm willing to pay what I have to for the best — but not 
one cent more. So — since I like the taste of Colgate's — 
since it cleans my teeth — since my dentist says there just 
isn't anything better — and since it costs me only a quarter — 
I'm using Colgate's, instead of some fifty-cent toothpaste 
with a lot of fancy claims. Father says, the way to judge 
value is by what you get — not by what you are promised. 
That's been his rule all through his business life. And that, 
I suppose, is why he can afford to send me to Europe. 




This seal signifies that tht composition 

of the product has been submitted to the 

Council and that the claims have been 

found acceptable to the Council. 





CO 

RIBBON DENTAL 




"I 



57 



Kit them 

back in 

your pocket 




he Headline History Of Chaplin 



{Continued from page j6) 



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of 25,000 at opening of new Los Angeles 
theatre and Chaplin's latest picture, "City 
Lights," which was in production two years. 
Professor Albert Einstein, famed for rela- 
tivity theory, attends show as Chaplin's 
guest; surprised when crowd surges toward 
him. Scores of women require medical atten- 
tion after fainting in crowd. Dozen fights 
occur. Practically every star attends. 

February i, iqji — Chaplin plans trium- 
phal tour of Europe as "king of comedy." 

February 14, iqji — Sails from New York 
on 5. 5. Mauritania to visit England for 
first time in ten years. Guards use force to 
save him from admiring throngs. New York 
papers full of Chaplin since New York open- 
ing of "City Lights," when New Yorkers 
rioted as Californians had. 

February 22, iqji — Is guest of Prime Min- 
ister Ramsay MacDonald at latter's country 
residence. Checkers, luncheon and stroll on 
program. Chaplin's first chance to rest since 
arrival in England. Mobs follow him every- 
where. 

February 24, iqji — Chaplin and George 
Bernard Shaw, famous playwright and wit, 
meet at luncheon given by Lady Nancy 
Astor. 

February 28, iqji — Comedian appears at 
London opening of "City Lights." One of 
London's greatest crowds throngs streets 
near theatre, hoping to catch glimpse of him. 
Afterward Chaplin gives party for two hun- 
dred guests. Tangoes expertly with Sari 
Maritza, Yiennese actress who is his latest 
"discovery." Romance rumored. 

March 10, iqji — Comedian arrives in 
Berlin to find great crowd awaiting him. 
Marlene Dietrich, visiting home city, tries 
to meet him at station, but is prevented by 
density of crowd. Greets him later at hotel, 
presenting him with roses. 

March 12, iqji — Chaplin invites former 
Crown Prince Priedrich Wilhelm to tea. His 
former royal highness does not accept. Ger- 
man Socialists snicker. 

March 14, IQJI — Charlie finds he hasn't 
time to visit Prague, Czecho-Slovakia, al- 
though President wants to receive him. 
Sensation caused in film world when influen- 
tial group of English theatres refuses to book 
"City Lights," saying terms are too high. 

March 16, iqji — Only one girl accom- 
panies Chaplin to Berlin station when he 
departs for Vienna and Venice. Chaplin 
kisses her goodbye. 

March 24, iqji — Chaplin goes to Nor- 
mandy to hunt wild boars on estate of Duke 
of Westminster. Wears suit borrowed from 
Duke, too large for him. Wild boar charges 
upon him, but comedian is saved by good 
marksman in party. 

March 27, iqji — Ribbon of the Legion of 
Honor given him by France. Chaplin says, 
"I am very much moved by this gesture of 
France, and it is a great inspiration to feel 
that I am the only foreign motion picture 
artist to hold the honor." A few Paris papers 
criticize government for awarding ribbon 
to a movie actor. 

April 16, iqji — Chaplin arrives in Al- 
giers, Africa, for "a month's rest away from 
crowds." Reported to be writing new sce- 
nario. 

April jo, iqji — Chaplin arrives in Jerez, 
Spain, from Gibraltar. Greeted by Bel- 
monte and other noted bullfighters. 

May j, iqji — In Nice, France, Chaplin 
denies he will wed Miss Mary Reeves, 
Czecho-Slovakian beauty with whom he is 
often seen. Says: "Don't you think I have 
trouble enough without trying marriage 
again? They say some Frenchman is accus- 
ing me of plagiarism in connection with 
'City Lights.'" 

May 8, iqji — London paper publishes 
purported interview with Chaplin, saying 



comedian has declined to appear at "com- 
mand" vaudeville performance. 

May 10, iqji — Telegram from Chaplin, 
declining invitation to "command" per- 
formance, received by theatre manager, who 
says Chaplin action is "unprecedented." 

May 11, iqji — London hears that Chap- 
lin sent $1,500 check in lieu of appearing on 
"command" program. Chaplin's explana- 
tion reported to be: "They say I have a duty 
to England, but I wonder. Nobody ever 
cared for me or wanted me in England seven- 
teen years ago. I had to go to America for 
my chance." Rumors of possible knighting 
of Chaplin die suddenly. 

Muy 28, iqji — London newspaper an- 
nounces Chaplin has agreed to devise and 
direct a British talkie, written by him, called 
"London," and dealing with romance and 
mystery of the city. 

July 12, iqji — Chaplin reported negotiat- 
ing for purchase of Juan-les-Pins chateau of 
R. A. Hudnut, millionaire perfumer, with 
intention of remaining in France indefinitely. 

July ji, iqji — Carlisle Robinson, Chaplin 
representative, returns to Hollywood; denies 
quarrel with Chaplin and says reports of 
Charlie's intentions to wed are "the bunk." 
Miss Reeves simply acting as Chaplin sec- 
retary and interpreter, he says. 

August 6, iqji — Chaplin guest at chateau 
of Count de Brissac, near Poitiers. 

September 2J, iqji — Back in England, 
comedian asks to have interview with Ma- 
hatma Gandhi, the newest sensation in Lon- 
don. Gandhi asks, "Who is he?" and when 
told that Chaplin has made millions laugh 
arranges to meet him. They talk about ma- 
chinery. 

November 15, iqji — Chaplin tells crowd 
of 10,000 fishing folk at Plymouth, England, 
that he sympathizes with their arduous 
work. "Still," he says, "we all have our 
tribulations. Even millionaires have theirs, 
and we must abide by them." 

November 18, iqji — Comedian sits beside 
Prince of Wales at ice carnival at Grosvenor 
House, Park Lane. 

November 28, iqji — London newspaper 
says reason for Chaplin's long sojourn 
abroad is that he is writing a stage play 
about Napoleon, based on theory Emperor 
escaped from St. Helena. Will probably play 
leading role, himself. 

November jo, iqji — Miss May Shepherd, 
film comedian's secretary and press-agent, 
sues Chaplin for £100, claiming back wages. 
Says work consisted of thinking up ways to 
get Chaplin's name in headlines and to make 
him keep his engagements. Cites numerous 
examples of broken appointments. 

December 2, iqji — Chaplin appears in 
court and pays fine of £100 and costs to 
Miss Shepherd. Drops defense of suit be- 
cause of names of prominent persons brought 
into it. Judge free in criticisms of Charlie's 
broken engagements. 

December 2j, iqji — London hears that 
Feodor Chaliapin, great Russian singer, will 
make first screen appearance in English film 
written for him by Chaplin. 

January 12, IQJ2 — Sari Maritza arrives to 
start work in Hollywood. Denies rumors she 
is engaged to Chaplin. 

April 8, IQJ2 — Plans to welcome Chap- 
lin, who is on way to Orient with brother, 
Sydney, stir up heated rivalry among Jap- 
anese. 

April 20, IQJ2 — Chaplin arrives in Singa- 
pore, Straits Settlements, on tour of the Far 
East for "rest and holiday." Hurried to hos- 
pital on arrival, suffering from tropical fever. 

April 25, IQJ2 — Chaplin still ill. Contin- 
uation of journey to Japan postponed. 

April 2Q, IQJ2 — Chaplin will play role of 
deaf-and-dumb clown in next film, which 
{Continued on page 67) 



58 



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dorft tother reading this, 



SAYS 



O JL \-k V J. J\ . . . the world's foremost 
authority on the care of the feminine figure 



[Why you must have sugar to lose 
weight faster, and more safely J 



Out here in Hollywood, I've slapped, 
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an overweight picture star into shape for 
the camera. And in New York, many a 
stage and social celebrity. I get $100 a 
half hour for doing it. 

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And you'll lose weight faster with the 
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ever could without it. 

Case after case of my own verifies these 
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What is the right sweet? I give Life Savers 
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I satisfy it . . . and help them reduce at 
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Why are Life Savers part of my slender- 
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59 




Stars Invent a New Kind of Divorce 



{Continued from page 2j) 



ffruinaw, 

JLlawling out everyone . . . giving 
tickets left and right. Everyone in 
town said that cop was unfair . . ., 
and then he found a way to end his 
indigestion. 

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It takes so little to make the differ- 
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Beeman's Pepsin Gum is often a help 
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to a divorce, even in good old Hollywood ! 

Comes Back to Play Papa 

BUT perhaps the champion unshakable 
husband of them all is Austin Parker, 
divorced gentleman friend of Miriam Hop- 
kins. At least, he holds all long-distance 
records for courtship that extended through 
a year-and-a half of separation, and now 
that they are actually divorced, it looks as 
though Mr. Parker would become some- 
thing of an ex-adopted father to Miriam's 
little adopted boy. 

Mr. Parker is a frequent caller at his ex- 
wife's home for the purpose of playing with 
the curly-headed little three-year-old whom 
Miriam acquired after their divorce. He 
has been known to arrive at the Hopkins 
home just in time to share a bowl of spinach 
with the young man, who might be his 
adopted son if it weren't for that little mat- 
ter of the divorce. In this case it is a very 
small matter, for author Parker's interest in 
the child is as keen as though he were a 
present, rather than an ex-member of the 
household. 

Though Mr. Parker has frequently been 
rumored engaged to various Hollywood 
ladies, his really big thrill seems to come 
from those rare dates when he takes his 
ex-wife's adopted son for a ride in his 
brand-new sports car. Miriam laughingly 
remarked to a friend: "I believe Austin can 
hardly wait until the baby is old enough to 
go to football games and prize-fights with 
him. I think he has already bought base- 
ball bats to give him five or six years from 
now!" Which should go to prove that 
Miriam, who is different anyway, has in- 
vented a very different kind of divorce — 
with the willing assistance of Mr. Austin 
Parker! 

Ruth and Ralph Still Partners 

THOUGH Ruth Chatterton is very 
thoroughly divorced from Ralph Forbes 
and very much married to George Brent, 
she has announced that she and "Rafe" 
(Ruth's pronunciation of Ralph's name) 
will continue as partners in business. Just 
before the fateful break-up, Ruth and Ralph 
bought a stage play, "Let Us Divorce," in 
partnership. It was not a great success, but 
that didn't discourage Ruth and her former 
husband from believing it might be "doc- 
tored" into a long and successful run on 
Broadway. 

If the show does open, and their hopes 
for it come true, there may be many other 
productions offered by "Ruth Chatterton 
and Ralph Forbes," even though Ruth is 
privately wearing the name of Mrs. George 
Brent. 

"There is no reason in the world why 
Rafe and I shouldn't continue as business 
partners," said Ruth. "We are parting as 
the best of friends and I do trust his judg- 
ment about plays and productions." In 
fact, no one would be surprised, at the end 
of her motion picture career, if Ruthie be- 
came a lady producer of Broadway stage 
shows. With her expressed confidence in 
Ralph's dramatic judgment, what could be a 
better arrangement than her former hus- 
band as stage director? For they've in- 
vented a new kind of divorce — the "still 
partners" divorce! 

John Is Colleen's Best- Wisher 

EVEN another marriage to some other 
gentleman has not always completely 
removed a former husband from the scene. 
Colleen Moore is very happily married to 
Albert Scott, New York broker, but one of 
the first and most glowing messages of con- 
gratulation she received on her fine stage 



performance in "The Church Mouse" was 
from her former hubby, director John Mc- 
Cormick. Many think he is still in love with 
Colleen. 

When you have lived with one man for ten 
long years, it is not the easiest thing in the 
world to put him completely out of your life. 
Colleen admits that for several months after 
their divorce they called one another to 
check up on mutual friends' telephone num- 
bers and the name of their favorite insur- 
ance agent and other vital domestic statis- 
tics like that. Colleen and John were pio- 
neers in the art of inaugurating the new 
kind of divorce — the kind in which an ex- 
husband is hard to lose. 

Buster Keaton twice tried to kid Natalie 
Talmadge out of getting a divorce, and suc- 
ceeded once. And now that they are parted, 
it looks as if Buster is still trying to kid her. 
Just before their final flare-up, Buster had 
bought a yacht and had given it to Natalie; 
it was the scene of their last quarrel. Now, 
Buster is going places in a "land yacht" — a 
big bus, especially made — dressed as an 
Admiral. Who knows? The idea might 
amuse Natalie so much that she'd like to 
have the amusing Buster around the house 
again! Anyway, Buster has invented a new 
kind of divorce — the divorce in which the 
ex-husband still can kid the ex-wife. And 
he's making it awfully, awfully hard for 
Natalie to forget him! 

Eleanor Boardman and director King 
Yidor came to a parting of the ways last 
June, and Eleanor Boardman announced 
that a divorce action was imminent. But 
when it came right to it, Eleanor was in no 
hurry for her freedom. Nor was King, who 
is popularly supposed to be a great advocate 
of freedom. He had been divorced before 
(from Florence Yidor), so there would be no 
novelty about being divorced. And, be- 
sides, it looked as if King were one of the 
new kind of husbands — who aren't at all 
anxious to be dropped for good and all! 

Estelle Saw Jack More 

ESTELLE TAYLOR and Jack Dempsey 
went through a very stormy divorce. 
In fact, Estelle and Jack got pretty mad at 
one another. But that didn't seem to make 
any difference. In a few months, Jack was 
back in Hollywood, inviting Estelle to go 
automobile riding with him and to drop by 
his table for lunch when they both met in 
the Brown Derby. 

"In fact," laughed the witty Estelle, "I 
saw Jack and heard a great deal more from 
him following our divorce than I did when 
we were actually married. For a while we 
saw each other so frequently we were ru- 
mored re-engaged! It wasn't true, of 
course — but don't let anybody tell you it 
isn't hard to lose a husband in Hollywood!" 
Especially with the new kind of divorce that 
Hollywood has invented. 

However, it remained for Harry Bannis- 
ter to pull the prize ex-husband comment of 
them all. It happened one Sunday after- 
noon when Harry was entertaining a group 
of pretty girls at his Malibu Beach cottage. 
His divorce from Ann Harding had been 
final for about three months. He was le- 
gally as free as the air. And yet when a 
photographer asked Harry to pose in a news 
picture with two or three of his pretty lady 
guests, Mr. Bannister remarked: 

"I should not care to embarrass Miss 
Harding by posing in a picture with another 
woman ! ' ' 

If that isn't carrying on the responsibili- 
ties of married life, even though divorced! 
But it's just a sample of the new kind of 
divorce that Hollywood has invented — in 
which ex-husband and ex-wife are almost 
closer than when they were married! 



60 



Even a very uouna skin may wrinkle 



4rom 




y 






Hollywood dermatologist advises 
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Myrna Loy is only in her early twenties. But 
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61 



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Hollywood Votes for the First Time 



(Continued from page 25) 



The Dominoes, whose organization con- 
stitutes Hollywood's own, personal Wom- 
an's Club, are taking an active interest, not 
only in national, but in local politics. Every 
Thursday evening they give a dinner and 
invite some prominent political figure to 
address them. Afterward they hold a sort 
of open forum for an hour or two in the wide 
living room to discuss the problems of the 
moment. Just exactly as they do at the 
Woman's Club in your home-town. 

Films Getting Political, Too 

HOLLYWOOD, with this awakening 
civic consciousness, swells out her 
chest a little and wonders if she may not 
become, in time, an important political 
center. After all, criticisms of government 
methods are being expressed in current pic- 
tures. "The Washington Masquerade," 
"Washington Merry-Go-Round," "The Wet 
Parade," "The Phantom President," "Scar- 
face" — some of these are satires and some 
are serious presentations of problems of 
national importance. "Scarface" was a 
direct challenge to voters. "This is your 
government," it said, in so many words. 
"This is your problem. What are you going 
to do about it?" 

Newsreels, which are nothing more or 
less than newspapers in picture form, might 
easily become important political weapons. 
So far, they all proclaim a strict neutrality 
on all political questions. So far all of them 



have refused to be used for purposes of 
propaganda. But if Hollywood becomes 
politically ambitious — the newsreels will be 
her most important assets. And Hollywood 
is showing symptoms of ambition. . . . 

Hollywood might even develop some 
political figures of importance — if you will 
just give her time. No mere politician 
would have any such facilities for presenting 
his personality and his views to the public 
as would a motion picture person ! Some of 
the powers in the industry now are already 
persons of political importance. Will Hays, 
czar of the industry, is an ex-Republican 
National Chairman and ex-Postmaster-Gen- 
eral. I mentioned Louis B. Mayer and 
William Randolph Hearst earlier. Merian 
Cooper and David Selznick (RKO execu- 
tives) are important figures." If the Demo- 
crats win, Will Rogers will probably be in- 
vited to sleep in the White House. 

And, after all, didn't our own Will 
Rogers receive twenty-six — or was it twen- 
ty-eight — votes for the Democratic Presi- 
dential nomination on one ballot at the con- 
vention? One can think of people who 
would be worse choices, too, than our 
" Ambassador-at-large " ! 

Where will all this lead? Do you suppose 
that four years hence Hollywood will have a 
ticket of its own? With, maybe, Clark 
Gable for President and Gary Cooper as 
Vice President, with Lionel Barrymore 
slated to be Secretary of State? Gosh! 



Looking Them Over 

(Continued from page 20) 



' 'Silver Dollar." Now, on these hot Indian- 
Summer days, Bebe is sweltering under the 
lights in a blonde wig. 



RUTH CHATTERTON and George 
.. Brent have been spending their honey- 
moon in the beautiful bungalow dressing- 
room on the First National lot that went 
along with Ruth's contract. The reasons 
are gossiped to be "sentimental." It was 
in this pretty little house that the Brent- 
Chatterton romance first began, between 
scenes of "The Rich Are Always with Us." 

However, the more practically-minded 
friends of the honeymoon couple insist that 
the bungalow is merely serving as a tem- 
porary home while Ruth and George com- 
plete the furnishing of the Jascha Heifetz 
home in Beverly Hills, which they rented 
when Florence Vidor Heifetz moved out. 

The Brents are being very coy about 
photographers and reporters. Garbo, her- 
self, was never more elusive. 



THOUGH Paulette Goddard is playing 
just a "bit" role in Eddie Cantor's 
"The Kid from Spain," she is one of the 
most-discussed young women in Hollywood 
at the present moment. Reason? For one, 
she seems to have captivated the exclusive 
attention of Charlie Chaplin. When Paulette 
steps out, it is almost a cinch that Charlie 
will be at her side. 

Every morning Paulette arrives at the 
studio on the back seat of a luxurious town- 
car. As the chauffeur stands at attention at 
the door, Paulette, clad in the latest thing 
in lounging pajamas (rose velvet, the day 
we spotted her), gathers up her cigarettes 
and make-up kit, mentions in passing when 
she wants the car again, and hies across the 
lot to her very small dressing room. All the 
stars are quite impressed. 



TOAN CRAWFORD and Douglas Fair- 
J banks, Jr., are back in Hollywood after 
three months in Europe. The first visit 
they made on their return was to the home 
of their pal, Robert Montgomery, who has 
been seriously ili. 

Joan and Doug pulled a funny postcard 
trick while they were gone. Before they left 
Hollywood, they bought all the Hollywood 
cards they could find, depicting Hollywood 
Boulevard, the Chinese Theatre, the Brown 
Derby and all the other familiar old land- 
marks. From London, Paris, Rome and a 
few other places they sent the Hollywood 
views back to their friends with the 
comment: 

"It's grand to be seeing new sights and 
new scenes. Wish you were here!" 



LUPE VELEZ continues to deny that she 
_, might have been the reason for the 
marital difficulties of Johnny Weissmuller 
and Bobbe Arnst. In fact, Lupe insists that 
her interest in Johnny is purely platonic, 
and that it is Pete, Johnny's brother, who 
is her favorite beau. 

Just recently, two women writers who are 
friends of Bobbe Arnst "ritzed" Lupe on 
the M-G-M lot, when the little Mexican 
star came over to the press table to say 
"Hello." Lupe was frantically distressed. 
"What's the matter with those women?" 
she demanded. When she heard the reason 
for the "cold shoulder," she dragged them 
both off to a quiet secluded spot and swore 
by everything that Lupe could think to 
swear by that she wasn't the cause of the 
Weissmuller separation. Just by way of 
proving it to the skeptical ladies, she hasn't 
seen Johnny since (?). 

Bobbe Arnst, who makes no secret of her 
broken heart, has accepted a long vaudeville 
engagement. 

(Continued on page 74) 



62 



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feeling of bulky, 
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io ease 

the task of 

enlightenment 

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in a spirit of con- 
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but this. There will be thou- 
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Mary Pauline Callender 

Room 21 18 \. 

180 N. Micuigan Avenue, Chicago, III. 

Please send me copy of " Marjuric May'. Twi Iflu 
Birthday." 



Starr 

Copyright 19SS, K«u>x Company 



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John Boles Gives Some 

Tips to Young 

Married Couples 

{Continued from page 52) 

strange and powerful union of their per- 
sonalities that makes for a far from passive" 
relationship. A vigorous affection simply 
cannot be passive — I mean agreeable — at 
all times. There is bound to be occasional 
friction. The trouble is that people don't 
appreciate this — and don't take away its 
bitterness with understanding. 

" Instead, during a quarrel, a couple is apt 
to break up with a shattering bang. If they 
are not sensible — and have not reasoned out 
just how much they mean to one another — 
it is apt to be a permanent rupture. That's 
where children are invaluable. Married 
people are apt to heal their differences be- 
cause of their children. 

" I have two children, and I suppose they 
have acted as anchors to windward for my 
marriage boat as often as the next man's 
youngsters have for his. I'm half-Irish, and 
that part of my nature is quick-tempered. 
Too, I come from a line of people — on that 
side — who are notoriously given to wander- 
ing. If it had not been for the saving grace 
of my youngsters, and the fortunate posses- 
sion of a strain of canny Scotch blood, I 
might by now be finding myself a stoker on 
a tramp schooner — headed for nowhere. 

How His Own Romance Began 

MY wife and I both attended the Uni- 
versity of Texas. I was a Beta, and 
she was a sorority woman, a Pi Phi. Both 
liking to enjoy ourselves, we went through 
all the strains of collegiate social life to- 
gether: fraternity hops, games, proms, all 
those grand times that are so conducive to 
romance. We got off on the right foot, as it 
were. I got my sheepskin one day — and we 
were married almost the next. 

"Then the real tough time started. I was 
determined on a musical career. But first 
there was the War, a period with my father 
in the brokerage business in New York, and 
another as French and singing teacher at a 
girls' academy on Long Island. But I 
wasn't satisfied — and my wife knew it. It 
was she who backed up my resolve to break 
away, and presently we escaped to France. 

"The sledding got harder. I was studying 
under Oscar Seagle and Jean de Reszke, and 
we had to live modestly. But we were 
young, and had Paris, and so we didn't 
mind. I think it ought to be compulsory for 
all young marriages to have a hard time of it 
in some romantic place. It gives them some- 
thing to look back on fondly; something to 
laugh about, to feel more closely knit about, 
during the later period of cross-pulls and 
small, wearing differences that try the stout- 
est of affections. 

"Back in New York, I uppishly refused to 
take anything but leads in musical produc- 
tions. I tramped around for weeks without 
success. It was hard on my wife, but she 
didn't complain, and for that I was doubly 
grateful. Then my persistence was re- 
warded with the male lead in 'Little Jessie 
James' . . . and I started the trail that 
eventually brought me to Los Angeles"— 
(where Gloria Swanson saw him in " Kitty's 
Kisses" and signed him for "The Loves of 
Sunya") — "and to pictures. 

Struggle Bound Them Closer 

THUS my wife and I had a grand back- 
ground for success in these later years. 
We fought things out together, and so it 
does not seem strange to me that here we 
are, going stronger than ever. It does seem 
strange, I'll grant you, to a lot of people— 
those who consider it odd! for an actor to 
marry in his early twenties and settle down 
to one wife and the raising of a family. 



64 



"But we of the stage can and do marry, 
just like anyone else — sometimes, obviously, 
a whole lot oftener than anyone else! — and 
I think we have as much chance to make a 
go of it as the next couple. Our problems 
are virtually the same as those of the boot- 
legger and his wife, and the butcher, the 
banker and the business man. There is one 
characteristic that we have in common, 
whatever our work may be — and that is the 
need for someone to laugh with us when we 
are sad, celebrate with us when we are 
happy, comfort us in our times of stress, and 
just swing along with us in those long in- 
between places that are neither high nor 
low, but just the main part of the road. 

"Naturally, I'm not counseling hasty 
marriage for young kids. Too many young- 
sters have been crippled by assuming pre- 
mature responsibilities. But there is a far 
greater danger than this — and that's waiting 
too long. Better to suffer, to fall down and 
bump yourself and get up and try again, 
than to miss it entirely. And that is just 
what a great many of the intelligent people 
of this world are doing to-day — letting 
themselves be tricked out of one of the 
great experiences granted to them. 

His Cure For Indifference 

OH, I'm not implying that the ecstasies 
of those first young days will last 
permanently. But neither do I believe that 
they necessarily must fade like cut flowers. 
To judge from the attitude of most married 
couples, true enough, one might conclude 
that Adam and Eve had not been in the 
Garden for a fortnight before the lady be- 
gan to note a considerable lapse of ardor on 
the part of her mate. And then came the 
ensuing inevitability of indifference. 

"That's the modern angle, and so far as 
I can see, there is only one way to beat it. 
That is to learn the few rules that will in- 
sure a domestic relationship that will grow 
in strength and richness with the years. 
Most important of all of these, I should say, 
is 'Never take your partner for granted.' 

"Advice as to the need for respecting one 
another's delicacies and sensitivities is so 
evidently unnecessary that its request 
scarcely seems called for — until we see how 
many married couples fall gradually into 
habits that rub the gloss from their relation- 
ship. Just because a man and woman have 
come to live together, there is absolutely no 
reason for either to think that he or she may 
invade the personal rights of the other. 
This trespass may take no larger form than 
appropriation of closet space belonging to 
the other member of the household; but, 
nevertheless, such incidents are dangerous. 

Marriage Takes Common Sense 

THERE'S an old saying about a man's 
being only half as good a husband as 
he is a lover. If that is true, the only way to 
defeat the consequences is by the use of in- 
telligence. Intelligence should be brought 
into play in the business of a successful mar- 
riage as surely as it is required in any other 
import, ml business. Who but a foolish 
team would be silly enough to lose their 
tempers at the same time? Who but a 
trouble-seeker would carry out his own 
wishes at t lie expense of the other's? 

"My wife is not a professional woman. 
Her job is running our home. Personally, I 
think that wise. I cannot see a great deal of 
success ahead for a marriage that starts 
with both partners heavily engaged in some 
absorbing work. I believe that a wife should 
be .1 soil of buffer for her husband, a source 
"I peace for him when he is half-dead with 
fatigue and worry. And how is .1 man to get 
that from a woman who is exhausted, her- 
self, from the demands of her own career? 
No career for my wife! I realize how valu- 
able she is to me as Mrs. John P.oles and 
fully appreciate that it is she, who is the 
major part of the reason that we have gone 
along as well as «e have." 



Poor BUTTERFLY 




Until she learned One Simple Secret 



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65 



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Jean Harlow —Tortured by Tragedy 



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{Continued from page if) 



student of suicide," in a detached, philo- 
sophical way. David Selznick, producer, 
told of Bern's big collection of books on the 
subject. Lothar Mendes, director, said that 
he believed overstudy had caused Bern's 
"delicately balanced sense of life to give 
way." Lady Inverclyde, known on stage 
and screen as "June," said "one could not 
help noticing that he was morbidly in- 
clined." 

Irving Thalberg, Bern's closest business 
associate, testified at the coroner's inquest 
that he knew of no marital difficulties be- 
tween Paul and Jean, but said that Paul 
had been working hard and for some time 
had appeared highly nervous. John 

Gilbert, whom Bern had encouraged many 
times, revealed that he had prevented an 
earlier attempt by Bern to commit suicide 
— soon after the tragic death of Barbara 
La Marr. Other friends said that Paul had 
told them he "came from a family of sui- 
cides" — several relatives having taken their 
own lives. 

The coroner's jury returned a verdict of 
"suicide — motive not known." The mys- 
tery deepened, and, at the same time, so 
did sympathy for the bride upon whom 
tragedy had descended so suddenly and 
overwhelmingly. 

Paul Bern was called "the understanding 
heart," by Barbara La Marr, whom he 
befriended to her very last hours. Every- 
one in Hollywood loved this quiet, kindly, 
and sensitive man. He w r as invited every- 
where. His life seemed an open book. Yet 
now it develops that there were things of 
which he did not speak even to his closest 
friends. There was, for instance, the Face 
carved on the great beam that runs through 
the center of his living room and projects 
into the patio beyond. The four corners 
of this immense beam end are adorned with 
faces cut into the wood — the faces of the 
four people who had been closest to him in 
his life, Paul told visitors. One is the "too 
beautiful" countenance of Barbara La Marr, 
another the unmistakable likeness of 
Douglas Fairbanks, Jr. The third corner 
bears the face of Carey Wilson, with whom 
Paul lived at one time. The fourth carries 
the head of a beautiful unknown woman 
whom Paul never named. 

Another "Mrs. Bern" 

NOW Hollywood is wondering whether 
she is the mysterious, pretty "Doro- 
thy Millette," who was registered for ten 
years at a New York hotel as "Mrs. Paul 
Bern," who was reported to be "mentally 
deranged," and whose existence was never 
suspected until his tragic death. Holly- 
wood, which had so recently seen Jean 
Harlow in bridal white satin, no more glit- 
tering than her amazing hair, now learned 
of a hidden "marriage" in Paul Bern's 
past. This quiet little German scenario 
writer and producer, who had earned the 
title of "Little Confessor of Hollywood" 
because of his sympathy and kindness to 
the sick and disgraced and broken-hearted, ' 
suddenly was revealed as a stranger, a man 
with tragic secrets of his own, which even' 
the girl whom he loved and courted for two 
years did not guess. 

In Hollywood men and women talk 
feverishly of the Present, and confidently of 
the Future, but seldom mention the Past. 
Their names are not, for the most part, their 
own. Their biographies are often concocted 
in the publicity departments. It takes the 
sudden sharp detonation of tragedy to bring 
to the surface the flotsam and jetsam of the 
lives that they have left behind. And 
among these fragments from Paul Bern's 
life come facts which show the dapper and 
successful picture executive in the lurid light 



of a man who had inherited a tragic destiny, 
which, perhaps, could not in the end be 
escaped. 

The romance between Jean Harlow and 
Paul Bern was not the sudden affair that 
startled all Hollywood when the two were 
married last July after a week's engage- 
ment. Almost two years ago, when Jean 
had just been granted her divorce from her 
first husband (Charles McGrew, II, Chi- 
cago bond broker), Paul Bern told one of 
his servants, " You will soon have a mistress 
in this house — a beautiful mistress." 

Had Premonition of End 

"TEAN is the most wonderful girl I have 

I ever known," he said to a friend at the 
' same time. " If I could not have her for 
my wife, life would not be worth living." 

And yet, while Paul Bern was making 
glowing plans to marry the gorgeous plati- 
num blonde who was just beginning her 
sensational screen rise, the shadow of the 
dark midnight hour that was to come two 
years later hovered over him. It was during 
the months when he knew that he was to 
marry Jean that he confided to a director- 
friend one day that he felt that he had 
inherited the family curse of suicide. "My 
mother died by her own hand," he said. 
"Other close relatives have died the same 
way. / shall probably kill myself some day." 

He was a German. He was familiar with 
the unhappy philosophies of Nietzsche and 
Schopenhauer, and he had delved into the 
morbid soul-searchings of German scien- 
tists and thinkers. His sensitive heart was 
sick with the sufferings of humanity. That 
sympathy of his led him to seek out grief 
and sorrow wherever he went. He had been 
much with those who had contemplated 
suicide. With his own hands he once held a 
frantic woman, who had found only dis- 
grace and wretchedness in a foreign land, 
from leaping from her hotel window to 
Broadway ten stories below. He had talked 
another woman, whom love had betrayed, 
into giving him the revolver that she had 
planned to use for escape. He had tried 
vainly to save a girl magazine writer from 
self-destruction by collaborating with her 
on a scenario, to give her the hope her 
discouraged spirit needed. He was with 
Barbara La Marr, Lucille Ricksen and 
Mabel Normand when they died. 

Vicariously, Paul Bern must have died 
many times, in a life saddened by other 
people's pain. Death was no stranger to the 
man who had held so many dying hands 
in his. 

Lived Far From Crowd 

" 7 IFE is terribly hard," he often told his 
L-r servants, who knew him, perhaps, 
better than most of his studio friends. 
Though a familiar figure at all social events 
in Hollywood, where he was the escort at 
different times of some of the most gorgeous 
women of the screen, Paul Bern chose one of 
the loneliest spots within reach of Holly- 
wood for his home. In the charming, quaint- 
ly fairybook house he built in a fold of high 
hills, he lived the introspective life of a 
recluse. His home was so remote that he 
put up small signs: "This way to Paul 
Bern's home." 

The verdict of the coroner's jury, "death 
from a shot fired with suicidal intent," 
seems to be borne out by a remark he made 
to his gardener two days before his death. 
"Bring me your bill tomorrow. I want to 
pay it as soon as possible." 

"But there isn't any hurry, Mr. Bern," 
the man said, surprised. 

"Yes, there is," Paul Bern said, with the 
hunted look his servants had seen him wear 
(Continued on page 71) 



66 



The Headline History of 
Chaplin 

(Continued from page 58) 

will be a talkie, Hollywood hears. 

May 14, 1932 — Comedian welcomed like 
king in Japan. Two hundred reporters in- 
terview him; hundreds of police fight back 
mob at Tokyo station. Declares reception 
is most enthusiastic he has ever received. 

May jo, 1032 — Charlie and brother attend 
a supper in their honor, given by Ken Inu- 
kai, son of recently assassinated Premier. 

June 2, 1932 — Chaplin leaves Japan with 
regret. Sails for America. 

June 16, 1932 — Returns to Beverly Hills 
home after sixteen months of globe-trotting 
— ''first real vacation in twenty years." Says 
he will remain silent on screen. "My screen 
career is famous in pantomime, so why 
should I change?" 

June 17, 1932 — Chaplin announces he has 
a plan to place world finances on even keel. 
Would have governments deposit money in 
international bank, issue international cur- 
rency. 

June 20, 1932 — Lita Grey Chaplin signs 
film contract by which she and two sons — 
Charles, Jr., 7, and Sydney, 6 — will appear 
in five pictures. Children now with grand- 
mother in Nice, France. 

June 23, 1932 — Chaplin will not say pub- 
licly whether or not he approves of projected 
film careers of sons. Friends predict he will 
fight their appearance on screen. 

July 7, 1932 — Question "Who is film- 
dom's wealthiest celebrity?" answered by 
County Assessor in new tax roll. Chaplin 
heads list with $7,687,570 in taxable stocks 
and bonds, and cash and solvent credits of 
S295,6oo. 

July 11, 1932 — Chaplin boys arrive in 
New York, dressed in white sailor suits, and 
accompanied by young-looking grand- 
mother. 

July 12, 1932 — Chaplin files protest with 
County Board of Supervisors against tax 
assessment. Attorneys claim his securities 
are worth only $1,657,316. In interview in 
New York, Chaplin boys reveal that their 
favorite movie stars are Mickey Mouse, 
Minnie Mouse and their father, in that or- 
der. Looking forward to acting. When 
grown up, Charles wants to be a locomotive 
engineer and his brother wants to drive a 
Fifth Avenue bus. 

July 19, 1932 — County Supervisors deny 
Chaplin's petition for $6,000,000 reduction 
in assessments. 

August 5, 1932 — Chaplin attends pre- 
miere of "Back Street" with Paulette God- 
dard, platinum blonde newcomer to films. 
Romance rumors about couple. 

August 19, 1932 — Publisher announces 
that Charlie Chaplin is writing autobiog- 
raphy — and doing all the writing, himself. 
Reported that only screen star he mentions 
by name is Marlene Dietrich. 

August 23, 1932 — Chaplin calls on two 
sons, recent arrivals in Hollywood. First 
time he has seen them in nearly two years. 

A ugusl 24, 1932 — Chaplin attorneys file 
suit in attempt to prevent sons' film careers. 
Comedian says in pet it ion they are amply 
provided for, and feels screen work would 
present their leading normal lives and might 
lie detrimental to their futures. 

August _7, 1932- Chaplin testifies that 
concentration necessary to act in pictures 
would tax the vitality of his two sons. 

A ugust 29, 1932 — Chaplin wins injunction 
restraining wife from fulfilling contract with 
boys. Judge orders modification of Chaplin 
divorce decree to include provision that em- 
ployment of the boys must be with written 
consent of bol h pai nits. 

September /.<?, 1032— Lita Grey Chaplin 
writes to ex-husband for permission to have 
children in picture with her. 




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Bill Powell Talks About His Wife 



(Continued from page 75) 



Bill Powell has an entirely different slant 
on the situation. 

"Carole's illness has done more to cement 
the affection between us," he says, "than 
anything else could have and given us a 
companionship that few picture couples are 
ever allowed to have. For months Carole 
was unable to work. Ordinarily, she would 
have been at the studio most of the time 
since our marriage. But her illness gave us a 
chance to know each other intimately. 

"The fact that I make a limited number of 
pictures a year and have a great deal of time 
off made it even better. We were able to live 
almost like normal people. If Carole had 
been well, marriage and I would have been 
just sandwiched in between pictures. This 
way it was her whole life. 

"And I think her illness saved us from the 
pitfall of conflicting careers, which is a very 
difficult adjustment to make in the first 
years of marriage. Professional jealousy — 
not only jealousy of the other person's 
success, but jealousy because his work seems 
more important to him than you are — is apt 
to rear its ugly head in any marriage of an 
actor to an actress. 

"We were spared all that, and I think we 
understand each other well enough, after 
this year of being together, to weather any- 
thing of that kind that may come in the 
future." 

Not Making Any Promises 

HAVING a reputation for cynicism to 
uphold, I would be the last person to 
risk any prophecies about the future happi- 
ness of the William Powells. True, their 
house in Beverly Hills doesn't have the 
atmosphere of a home that is about to be 
rent asunder. It seems filled with sunlight 
and good dispositions, and people doffing 
their hats to each other in the most spon- 
taneous sort of way. But even Bill, himself, 
who admits he has never loved Carole more 
than he does right now, refuses to make any 
promises about next year or next week. 

"How can you make a statement about 
anything as unvolitional as love?" he reasons. 
"I don't know how it will be. I wouldn't 
want to swear that Carole and I will feel the 
same way a year from now. You can't snap 
your fingers and say, 'Here, Love!', or turn 
it off and on like a tap. You don't ask for it 
in the first place, and you can't detain it if it 
wants to go. 



"Someone came down here the other day 
to take our pictures out in the garden as 
'Hollywood's happy couple' — one of the few 
'lasting marriages' in pictures." He laughed. 
"It makes you feel a little self-conscious, 
posing for them — when you realize that half 
the time in cases like that the divorce papers 
are filed before the magazine even gets on 
the stands. It's almost a challenge. 

"Marriage, itself, is dangerous for that 
reason. It professes to be able to control 
love. It says, 'Now, that you've said these 
words, you've got to go on loving this man or 
this woman.' You chafe under it, naturally. 

"And the Hollywood idea of making long 
speeches about love and expecting them to 
hold good a month or two later, when the 
interview comes out, is absurd." 

Bill's Biggest Worry 

BILL objects to being written about, any- 
way. He is one of the least-interviewed 
men in Hollywood, and has the nearest 
approach to a private life that you can find 
in this town, with the exception of that arch- 
hermit, Ronald Colman, who is a pal of 
Bill's. He doesn't believe publicity does you 
either any good or any harm, and even if it 
does he would rather stand or fall on the 
quality of his own work in pictures. The 
only thing that worries him is the quality of 
his pictures. His contract calls for control 
over stories, but he has about given himself 
up as a story-picker, and is passing the buck 
to the Warner Brothers. 

Bill, you remember, is the possessor of one 
of those elegant and extravagant contracts 
that have stirred up so much wrath, since 
the depression. Bill asks that the next time 
you get all of a lather thinking about it, you 
consider a few of the facts in the case. For 
instance, that almost half of it — money, I'm 
talking about — goes to the government in 
income taxes, and therefore is ultimately 
distributed among all the millions of people 
who are busy shaking their fists at Mr. 
Powell. 

And second, that he has worked for twenty 
years at a very small salary to accomplish 
this, and that it will last for only a few years 
more, so all things considered he isn't much 
better off in the long run than any of you. 

He's a little better off, though, because he 
was lucky enough to marry Carole Lombard, 
a girl with the good judgment to be an 
invalid during that perilous first year. 



Our Hollywood Neighbors 



(Continued from page 11) 



to the marathoners. Mary Pickford dropped 
in one night and made a speech. Scenario 
writers took their notebooks down with 
them. Directors brought their lunches. 
You've guessed it — before the frost is on the 
pumpkin, you'll begin to see a lot of stories 
about dance marathons. 

Evelyn Brent even thinks she might en- 
ter the next contest. It's one way to see 
everyone you know — and she says she can't 
sleep anyway. 



SOME enterprising lad in New York is pro- 
ducing a revue number called "Twelve 
Garbos." We've forgotten the exact num- 
ber — never having much of a memory for 
numerals anyway. But all the gals are to 
look like the Swedish mystery lady. 

As if that were not enough, a Hollywood 
picture producer of " Baby Hurlesks" (awk) 
is on the lookout for a child Garbo. The 
infant must not be over thirty-six inches 
tall, and under four years of age. She must 



also enunciate clearly. Nothing is said 
about a Stockholm accent. 

Now, Garbo, see what you've started! 



HAVING had sort of bad luck with sea- 
going yachts, Buster Keaton is con- 
centrating on land ships now. You remem- 
ber that the last boat he had, caused all the 
marital difficulties between Buster and 
Natalie Talmadge Keaton. Natalie finally 
got a divorce and the yacht, too, which 
looks like a lot of generosity. 

Now Buster has bought a traveling house 
unlike anything ever seen before in these 
parts. It has two motors, a kitchen, a living 
room, showerbath, sleeping accommoda- 
tions for six guests, and a penthouse effect 
on the roof. Buster calls himself "the Ad- 
miral" of this queer-looking vehicle. 

It had its maiden voyage (or maybe that 
isn't just the right expression) over the 
Labor Day holidays. Buster and his pal, 
Lew Cody, took the thing up to Lake 



68 



Tahoe. When they got to San Francisco, 
however, they were awfully glad to have a 
nice, peaceful night at the Palace Hotel. So 
maybe land yachts aren't such fun at that! 



YOU might as well make up your mind 
to it — the mauve decade is on its way 
back. Feminine fripperies are getting aw- 
fully gay ninetyish. In our family album 
there is a swell tintype of grandma, and 
durned if she isn't wearing one of those 
" Letty Lynton " dresses. Strolling down a 
San Francisco street, we saw three shops 
advertising the duds that Joan Crawford 
gave to posterity. One shop offered them 
for S15 per each — within the reach of all. 
Personally, we think those wide shoulders 
make a girl look like a cross-country bus, 
but then we don't know much about what 
constitutes style. 

Ina Claire is wearing hats that are a 
throwback to the bicycle-built-for-two era, 
and when Joan was in Paris she bought a 
lot of feather boas. 

Xow all that is left is for Clark Gable, 
who started the turtle-neck sweater craze, 
to take up celluloid collars. Then every- 
thing will be just dandy — if you could only 
get a five-cent mug of beer. And mebbe 
that will be with us soon ! 



OH, dear — o-oh, de-ear, why do they do 
those things! And there's so much 
trouble in the world as it is. RKO-Radio is 
filming something called "Parlor, Bed- 
room and Wrath." At that, it isn't quite so 
bad as the Hal Roach comedy title — ■ 
"Strange Inner Tube." Shades of O'Neill! 



IN this advanced day, when everything 
including Mickey Mouse has gone sound, 
it seems silly to write anything about a 
theatre that doesn't have talking pictures. 
Believe it or not, there is a moompitcher 
theatre in Los Angeles that still clings to the 
dear old silents. A young lady pianist plays 
what she thinks are appropriate numbers 
for all scenes. Occasionally she gets a bit 
confused — but you can't say she doesn't give 
her all. 

The other night she was called upon to 
play something in keeping with the burial 
ceremonies of an army officer. She thought 
she was playing the familiar, somber "taps." 
What she really played was that lively 
umph-da-diddy which goes " I can't get 'em 
up — I can't get 'em up in the morn-ning." 



THE best sign over a movie theatre- 
Emil Jannings in "Passion" 
Cooled by electric refrigeration. 



WELL, times do change. Now Eric von 
Stroheim has gone economical. Do 
you remember when the studio would give 
Eric 8500,000 to make a picture, and three; 
months to turn it out? After six months 
Eric would ^1 ill be going strong, and would 
have already spent something like $2,000,- 
000. Them days are none. Eric, directing 
"Walking Down Broadway," is ahead of 
liis shooting schedule, and has kept within 
every penny ol the money allotment. 

On the other hand, ('.' I'.. De.Mille, who 
used to lie c onsidered .1 nice, sale and sound 
director, capable ol giving even Bible sto- 
ries the necessary box-oliice sex appeal, is 
having a grand time on " Sign of the ( toss." 
A little bird has whispered to us 1 li.ii < 1 n. 
are included that you'll never see in your 
favorite temple of movie entertainment, 
Personally, we hope the censors won't cut 
out any ol the Roman bathroom sequent 
Somehow we're just longing lor another 
glimpse of a DeMille bathtub. It would 
semi as il times were really returning to 
normalcy once again. 



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Ex-Ladies* Man — That's Joel McCrea! 



(Continued from page 21) 



have been closely involved with his picture 
career. It helps a young actor over the first 
difficult years, he says, to play opposite 
some famous star. Not only because he's 
sure to be seen by her large following, but 
because if she interests herself in him per- 
sonally, it gives him a great boost in the 
industry. 

I don't mean to imply that Joel de- 
liberately cultivates women to advance 
himself. He is a boy without guile, generous 
and easygoing and what I suppose you 
would call "clean" (at the risk of getting a 
sock from Mr. McCrea). But when a star 
throws herself at him and shows a desire to 
help him professionally with her attentions, 
he doesn't struggle. 

"Connie Bennett was swell," said he, with 
his unromantic man-to-man attitude. "I 
still like her very much, though I never see 
her. All the sarcastic things you hear about 
her are true, and so are all the nice ones. 
If she doesn't like you, she can be the coolest 
girl in the world. But if she does happen to 
like you, there's nothing she won't do for 
you, no trouble she won't go to to help you. 

"She was wonderful to me. She helped me 
a lot when we started working together — 
took me around and made Hollywood aware 
of me. The important people in Hollywood 
would never take me seriously before, but 
because she thought I was swell, they im- 
mediately thought so, too. She did it to 
help me. I did a lot of screwy things — like 
saying for publication that I never cared 
anything about her. It was an awful thing 
to do, but I did it because I didn't have any 
better sense and thought it was the right 
thing. But she was awfully nice about it. 
If she likes anyone, she understands every- 
thing and puts up with everything. 

Connie Remembered Him 

I'VE hardly seen her since she got 
married. But when I got back from 
the 'Bird of Paradise' trip to Honolulu I 
found she had bought herself a portable 
phonograph, and had bought one for me too. 
Didn't see me or say anything about it — 
just had her secretary send it over to my 
dressing-room. She does things like that." 

Under Connie's wing, Joel went through 
the stuffed shirt era of his career. He was 
the stiff, young, wholesome leading man, 
feeling thoroughly unnatural and uncom- 
fortable, trying to be as sweet as Buddy 
Rogers and to show as many teeth when he 
smiled. It was all very depressing. 

Then some inspired executive suddenly 
remembered Joel's torso — that gleaming 
body that for years and years had com- 
manded a small, but swooning feminine 
public at the Santa Monica Swimming Club. 
With the utmost haste they tore off his 
shirt, and gave orders that henceforth Joel 
McCrea was to be bare from the waist up. 
The results were gratifying. All the South 
Seas in Joel responded to this happy turn of 
events, and all the girl-power of the nation 
responded to Joel, lean and brown and 
beautifully muscled from swimming. 

Basking in the sun in some scant white 
tights that were the ultimate expression of 
the new policy, Joel smiled at all this. 

"It's true," he said. "Once the shirt 
comes off, it has to stay off. It's like being a 
policeman in the movies. If you do it once, 
you're a policeman for life. Anyway, I'm 
delighted, because it has given me my first 
chance to play the kind of parts I'm really 
suited for. I'm no actor, and never will be 
one. The only thing I can do is to be natural, 
and it's natural for me to be doing something 
athletic with as few clothes on as possible." 

Joel proves this on his days off, by play- 
ing volley ball at the beach club every 
Sunday, and swimming with George 



O'Brien or some other man when he's not 
working. 

"I'm not going with any girl," he said. 
"I couldn't take a girl to the beach and then 
leave her alone for two hours while I play 
ball. I'm not crazy about anybody anyway. 
And besides, I'm invited to a great many 
parties by hostesses who want plenty of 
extra men around, and I'm never asked to 
bring a girl." 

Then Joel went into his classic analysis of 
the film bachelor and his true position in the 
community, which only proves again that 
despite his open countenance, sweet dis- 
position, and guileless manner, Mr. McCrea 
knows what is going on around him. 

"Bachelors always seem to think they're so 
mysterious and glamourous and desirable," 
he said. "But it's all a lot of nonsense. I 
don't see why they don't realize that they're 
only invited out because hostesses must have 
extra men around the house. They know I'm 
nice and that I'll behave and won't break up 
their furniture, and so I'm an ideal bachelor 
for parties. I don't flatter myself they want 
me for any other reason. You can tell that, 
the minute you start going with one girl all 
the time. As soon as people know they have 
to invite your girl with you, the invitations 
start falling off. It's not me they want; it's 
a bachelor, and they resent it if they think 
one of their most useful bachelors is in love 
or is headed that way. 

"Of course, that's not why I don't go with 
some girl — because I don't care particularly 
about parties anyway. But as I don't go 
with any girl, I have so many invitations 
that I don't lack things to do. 

Fame Makes a Difference 

THERE'S no personal element in a 
Hollywood -party any more, anyway," 
he went on. "All the adventure is gone. 
You know just whom you'll meet, and why, 
and how they'll treat you — according to 
what your own position in Hollywood is at 
the moment. That's why I can't see how 
anyone ever gets a swelled head in this 
business. Nobody gives a rap about you — 
it's just your temporary success. Hostesses 
say, 'Clark Gable is coming!' and everyone 
gets excited, but nobody really cares, except 
that he's the sensation of the moment. And 
the next year it may be somebody else. 

"I know almost all the important people 
and the great successes of Hollywood. I've 
met them all, and there's no particular 
charm, no extraordinary attraction beyond 
the normal about any of them. They're just 
nice people, but nothing special, and it's 
only because of their success that people 
make such a fuss over them." 

Having completed his thought for the clay, 
Joel relaxed and went on with his between- 
scenes sunbath. He was finishing "Sport 
Page," in which he plays football and un- 
doubtedly has a rubdown between halves to 
reveal that physique. 

"This picture gives me a great chance to 
be undressed," he said. "It's all about 
wrestling and football and newspapermen. 
Plenty of athletics." 

I felt that on behalf of the Press I should 
resent that statement, but Joel went on 
innocently, "It was Charlie Bickford who 
tipped me off to all this. He told me to stop 
being sweet and giving the camera that 
vacant smile. He said, 'You're not that 
type. You're like me — you ought to be 
tough. Put a little menace into your per- 
sonality. When you do a scene with a 
woman, be a little tough with her, so there's 
no doubt that you're a man.'" 

So thanks to Charlie Bickford and who- 
ever thought of taking off the shirt, there's 
not a shred of doubt left in anyone's mind on 
that point. 



70 



Jean Harlow — Tortured by 
Tragedy 

{Continued from page 66) 

for several weeks. " You see, I may be going 
away very soon." 

And yet, with the word "suicide," the 
mystery only deepens. In stepping out of 
the life of his twenty-one-years-younger 
bride, whom he may have feared he could 
not make happy, he must have known that 
his act would endanger the entire future 
happiness of the girl he loved. And there is 
no doubt that Paul Bern loved Jean 
Harlow with an adoration that amounted 
to idolatry. 

Those who know him say he spent money 
extravagantly to make her happy. On his 
return from his airplane trip to the East 
last summer, he brought a trunk filled with 
costly gifts of jewelry, negligees, and trink- 
ets for Jean. He gave her the deed of his 
home for a magnificent wedding present 
that made even Hollywood gasp. Four 
days before he took his own life, he passed 
a test for an $85,000 life insurance policy. 
In his will, he left Jean everything. 

The Irony of His Act 

AND yet, ironically, he could have done 
l Jean no greater harm than by his 
suicide, if he had planned the deadliest 
revenge! As a motion picture producer he 
must have known what gossip and rumors 
would inevitably gather around the tragic 
figure of a two-months' bride whose hus- 
band had shot himself. He had protected 
too many women, and men, too, from the 
loss of their careers through sensational 
newspaper headlines, not to have foreseen 
this danger to her. 

Hollywood was instantly filled with whis- 
pers. Whose hand drove the "high-powered 
car that roared down Easton Drive at three 
o'clock on the morning of his death and 
skidded as it turned into Benedict Canyon?" 
Had the car been at Bern's home? What 
was meant by the mysterious postscript to 
the suicide note, "You understand that last 
night was only a comedy? " Where did Paul 
Hern go on an all-day trip two weeks after 
hjs marriage? Why did he always carry a 
loaded gun, as protection against some 
unnamed danger? 

And now, as though all this tragedy were 
not enough, Jean Harlow's career is 
threatened, ironically enough, from within. 
Amazing as it is, it seems that many movie- 
goers have associated poor Jean with the 
rules she has been called upon to play — 
identified her more closely than any other 
actress has ever been identified with screen 
roles. Perhaps this is because her screen 
characterizations have been so consistently 
of one type — the heartless gold-digger, the 
hussy and the vamp. 

Jean Never Stirred Up Gossip 

AND yet there are few Hollywood 
A actresses who have been more care- 
fully guarded and chaperoned than Jean 
Harlow; few who have caused so little 
gossip. Iler mother or her stepfather is 
always with her, in Hollywood or on tour. 
Romance rumorers have found little to say 
Of Jean. She and her family deplored the 
1 haracters she has played on the screen — 
in h so that Jean even left the movies 
for many months rather than goon playing 
them, after she discovered by her fan mail 
thai picture audiences were confusing her 
real self with her film r61es. Now, in her 
hour of trouble, these seductive screen sirens 
rise up like pale haired ghosts to haunt her 
with sins she never committed. 
In the September Movie ( Ilassk , 

Ionise Rice, famous graphologist, analyzed 

Jean Harlow's handwriting and wrote: 

{Continued on page 73) 




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You Can't Always Copy A Movie Star 



(Continued from page 26) 



with our eyebrows unplucked and without 
our base of vanishing cream. We wouldn't 
know that sports pajamas are shorter this 
year, or that suntan is slightly last year's 
stuff, if it weren't for the expert advice of 
Lilyan Tashman. There might even be 
women laboring under the illusion of "good 
forms," tipping the scale at 130, if it weren't 
for girls like Joan Crawford and Carole 
Lombard. Without Jean Harlow, platinum 
might still be in wedding rings only. 

No, Fanette, I am not the one to quarrel 
with the great benefit to womankind done 
by movie stars in the line of fashion and 
beauty aids. No doubt the sanction of such 
charmers as Norma Shearer, Bebe Daniels, 
Sue Carol, Gloria Swanson, Florence Yidor, 
Carmel Myers, May McAvoy and other 
recent mothers has done a great deal toward 
popularizing maternity. 

But there are just certain angles of Holly- 
wood etiquette and manner that seem a 
great deal more attractive in Hollywood 
practice than, say, in Oshkosh, Walla Walla 
or Newport. 

For instance, there is something exciting 
and inspiring in the thought that movie 
stars are, after all, "different and colorful" 
people in the newspaper announcement: 
"Ruth Chatterton, Film Star, Affirms Her 
Engagement to George Brent, Following 
Her Divorce From Ralph Forbes. Mr. 
Forbes Leaves Immediately For Reno, 
Following Wife's Engagement." But when 
you stop to think of it in terms of how it 
would read in the Centersiille Gazette!! . . . 
"Mrs. Roscoe Hicks, housewife, announces her 
engagement to Steve (Traveling Salesman) 
Hotshot, following her divorce from Frank 
Hicks. Mr. Hicks departed for Reno last 
night to file divorce proceedings immediately 
upon reading of his -wife's approaching mar- 
riage." Well, it does rather prove that you 
can't always copy a movie star in your 
private life! 

That Talmadge-Jessel Mix-Up 

IT is palpitating to read that Norma Tal- 
madge and George Jessel are "seeing the 
sights of Paris" together and are being 
rumored engaged. But given the same set of 
circumstances, try this on your local paper: 

"Mrs. Sam Schmultz and Romeo Highstep 
pulled in last night from a two weeks' vacation 
in Junction Center. Mrs. Schmultz denied a 
divorce action from Sam Schmultz. 'Sam and 
I are the best pals in the world,' she smiled. 
Mrs. Highstep, and the two children, met the 
happy homecomers at the tram. Just one 
happy family . . . all friends,' grinned Mr. 
Highstep." 

When you really stop and think of it, 
Fanette, there must be something in names, 
in spite of Shakespeare's skepticism. And 
perhaps in photographic subjects, too . . . 

Before me, on my desk, is a large and 
most affectionate picture of a movie star 
and her director-husband, taken soon after 
their wedding. They are locked fondly in 
one another's arms — in fact, the director's 
nose seems to be pressed smack into his 
wife's sea-shell of an ear. This is what is 
known as an intimate little peek into Holly- 
wood social life and will probably be printed 



in all languages, including the Scandinavian. 
The caption reads: "Hollywood Director 
Gives Bride Big Bear Hug." Just for fun, 
picture your local banker and his frau snap- 
ped by the enthusiastic camera in equal in- 
formality with the note: Local Banker 
Bites Mrs. On Ear. 

Hollywood, too, has a quaint way of 
handling such vital statistics as birth an- 
nouncements. As far back as the first of 
March, it was printed in a Hollywood news- 
paper that Helen Twelvetrees (Mrs. Frank 
Woody) was expecting a "blessed event." 
The little stranger was expected (by the 
newspaper folk) "sometime in October." If 
this really becomes general practice, Fan- 
ette, imagine the excitement of the vital 
statistic columns which will read: "Exactly 
nine months, two hours and a split second 
after you read this, Joe Goodfellow will be 
passing out cigars in the back of Taylor's 
drug store." 

Put These in Your Local Paper 

HONESTLY, I wonder why we don't 
just all break down and admit that 
movie stars are movie stars, and not to be 
copied too closely. If all this hasn't been a 
lesson to you, I'm honest -to-goodness re- 
printing the following items of the doings 
of the celebrated stars with just ordinary 
folksy names substituted for the box-office 
attractions that inspired the information. 
Read 'em and go and do likewise, if you 
can, Fanette: 

At the opening of the local Opera House, 
Mrs. Bilyan Dollars was one of the most 
startlingly gowned women present. Mrs. 
Dollars' gown was of flowered cotton, with 
which she wore the famous diamond dog collar. 
Her coiffure was Grecian. 

A son has arrived at the happy home of 
Mr. and Mrs. Walter So-And-So, prominent 
in social circles of this city. The boy 'will be 
called Walter So-And-So, Jr. The So-And- 
So's have another child, a two-year-old daugh- 
ter, named Waltina in honor of her father. 

Mr. and Mrs. Richfellow entertained at 
dinner last night in honor of their daughter, 
Miss Gwen Richfellow, who is going out of 
town for two weeks. Two hundred and 
twenty-five guests were bidden. Simplicity 
marked the charming affair throughout. A 
thirty-piece band supplied the dance melodies. 
Corsages of orchids were presented to all the 
lady guests. The stadium ballroom on the roof 
of the Richfellow' s fifty-room home was tlte 
scene of the festivities. 

The three ex-husbands of Mrs. Gay Little 
were glimpsed dining together the other evening. 
They call one another "brother-in-law." 

Miss Wilma Potts of Bay Beach enter- 
tained with a small beach party last Sunday 
at her purple and pink cottage. After lunch 
Miss Potts and Charlie Hipps donned bathing 
suits and staged an informal wrestling match. 
The good wholesome fun was enjoyed by all. 

Do you begin to see what I mean, Fan- 
ette? It is too much — much too much. Let 
the movie stars set our fashion paces and 
curl, or uncurl our hair, but let's leave the 
social life where it belongs ... in Hollywood. 
Here's hoping . . . 
Barbara Foss. 



Hid You Know That — 

Lina Basquette, who recently denied being married to Teddy Hayes, 
former Dempsey trainer, and then announced her engagement to him, has 
just won a Mexican divorce from Mr. Hayes — who, it turns out, did marry 
Lina on October 31, 1931? 

Tommy Ince, son of the late Thomas Ince, producer, has just married 
Nancy Drexel, screen actress — and that they have entered college together 
for a honeymoon? 

James Cagney and Warner Brothers are arbitrating their long-standing 
contract dispute? 



72 



Jean Harlow^Tortured by 
Tragedy 

(Continued from page ji) 

"Jean Harlow should make a good wife and 
mother," and explained why. Just three 
days before Jean was so tragically widowed, 
Miss Rice received this letter from her: 
"Your article in September Movie Classic 
really gave me great pleasure because of all 
the things in the world that I think a 
woman should be best fitted for is marriage 
and glorious motherhood, and I am sin- 
cerely grateful that you found these charac- 
teristics in my make-up. My heartfelt 
wishes for every good, beautiful and true 
thing that this life has to offer you. Most 
appreciatively, Jean Harlow." 

Jean Harlow is twenty-one years old. 
Twenty-one is very young to be faced with 
tragedy and fear for the future. Twenty- 
one is very young to wonder if life is over. 
It is too late now to help those other beau- 
tiful and unhappy women whom Holly- 
wood has watched pass into oblivion under 
the black shadow of tragedy. 

A newspaper woman, who had known 
Paul Bern well, put the feeling of all Holly- 
wood into words when she said: 

"No matter what this terrible thing 
brings to light from his past life, Paul was 
the friend of everyone in trouble; when 
tragedy came, when disgrace threatened, 
when clanger drew near, Paul was the first 
one to come to the rescue. If Jean Harlow 
had been married to some other man who 
killed himself, Paul Bern would be with her 
now, calming her in that wonderfully sym- 
pathetic way he had, seeing her through. 
He helped give Barbara La Marr, Mabel 
Kormand, and Lucille Ricksen and many 
other women courage to die — and he helped 
many more women to find the courage to 
go on living. Wouldn't he want us to pro- 
tect the woman he loved now — ?" 

The wound in Jean Harlow's heart may 
never heal — but life has to go on. The show 
has to go on. She has quietly returned to 
work in "Red Dust," on which she was 
working on that fateful morning. She is 
trying to carry on — bravely — as Paul Bern 
would have wished. The mystery of the 
motive for Paul's act may never be solved — 
but the public has it in its power to end one 
mystery in Jean's mind: What does the 
future hold for her? 




Helen Twelvetrees, with her husband, 

Frank Woody, is shown en route to the 

home of her parents where she has 

awaited the stork 




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George Brent's Irish Luck Is Just 



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I 



{Continued from page 51) 



accept the suggestion of turning his am- 
bitious nature to the accomplishment of 
financial success. 

Even to-day, after experiences in many 
parts of the world, which were for the sole 
purpose of strengthening the fibre of his 
character, he has retained a sensitiveness 
that is unusual, that enables him to appre- 
ciate his own company, to dislike parties, to 
be bothered by close-ups, to dress quietly, 
and to be self-conscious when being in- 
terviewed. 

His Character, in Brief 

THE total of the addition of the numbers 
of all the letters in the name of George 
Brent is the number "5," and as well as 
accounting for the sensitiveness already 
explained, this number gives him a decided 
inclination to be a jack-of-all-trades. It 
makes the outstanding qualities of his 
character versatility, resourcefulness, and 
great ability to meet emergencies and to 
work the hardest and the best under pres- 
sure, just as it reveals that the weak points 
are procrastination, too much eagerness in 
starting things, and not enough tenacity in 
seeing them through. 

Born March 15, 1904, George Brent has 
had, and will continue to have, an interest- 
ing life, embracing many experiences of a 
contrasting nature. The number of his 
birthdate is also "5," like his name; and 
with this number before us it is easy to 
follow him from Ireland, to England, to 
France, where in the South his romantic 
temperament would find a happy environ- 
ment; then to Egypt, and finally to America. 

Except to see the world, to follow his 
fancy, and to seek to find a harmonious 
setting for his ideas and personality, he had 
no definite occupation or position in view. 
In Hollywood and the movies he has found 
the peak of the first period of his experiences, 
as well as the greatest outlet for his talents; 
and so for a time he will make the biggest 
effort to settle down of which he has been 
guilty so far. 

The first thirty-one years of his life are 
under just the right number of "9," to 
bring him public recognition and success and 
the broadest opportunity for the develop- 
ment of his personality in art. When it 



comes to a matter of settling down or of 
identifying himself permanently with any 
one place or occupation, it will take an 
emotional disappointment, perhaps in mar- 
riage — a possibility, so the numbers say, for 
1935 — to bring him to the mental viewpoint 
and the practical need for concentrating his 
thoughts and efforts. 

Success Will Mount Steadily 

THE year of 1929 commenced, in the life 
of George Brent, a cycle or period of big 
success, especially in the movies, and this 
cycle is by no means ended with 1932. The 
beginning of this period followed a run of 
bad luck from his twenty-first to his 
twenty-fifth birthdays. These were hard 
years, precarious and unhappy, so that 
when the "breaks" began to come in 1929, 
and more in 193 1, it was somewhat a swing 
of the pendulum of his eventful life from one 
extreme to the other. 

IQ 33 means a further advance in popular- 
ity for this young Irishman, and the more 
spectacular roles of stardom are waiting for 
him, from the last of this year, through 1933 
to the end of the summer of 1934, and it is 
in this last year that he will reap the greatest 
salary of his movie career. 

With the year of 1935 will come the peak 
of his association with the screen. He will, 
according to the indications in his Numer- 
ological chart, have to continue with the 
development of his talents as an actor, but 
it is likely that he will return to the legit- 
imate theatre. The more definite expression 
of his personality which the past three years 
have accomplished will give way with 1936 
to a successful concentration upon dramatic 
talent until 1938. 

When we remember that George Brent 
was born on the fifteenth day of the number 
"3" month of March, in a year the number 
of which was "5," it is safe to expect that 
with about eight years expression on screen 
and stage to his credit, by 1938, his Irish 
love of adventure and of personal freedom 
will once more assert themselves. Then 
an entirely different chapter of experience 
will be sought, just as far removed from 
Hollywood, its life and activities, as the 
movies, themselves, are proving to be a 
complete contrast to his former experiences. 



Looking Them Over 

(Continued from page 62) 



THE Maureen O'Sullivan-James Dunn 
romance has temporarily gone "boom." 
But it has hit the rocks a couple of times 
before, so no one is taking this quarrel too 
seriously. The last time we saw Jimmy and 
Maureen together, they were in a front box 
at the marathon dancing endurance contest. 
Maureen was pulling hard for one favorite 
couple — and Jimmy for the other. 



DICK POWELL, who made his screen 
debut in " Blessed Event" and almost 
stole the picture, and Joan Marsh are going 
places and having fun. Dick is separated, 
but not divorced from a pretty non-profes- 
sional in the East. Dick admits he likes 
Joan an awful lot, but as he isn't legally 
free for even a "rumored romance," he isn't 
saying more than that. Joan Marsh looks 
exactly like her father, Charles Rosher, the 
cameraman. Charlie, you remember, is the 
famous cameraman who photographed Mi ry 



Pickford in all her greatest silent screen 
successes. 



MOST airplane pilots and passengers 
fly by the weather reports. With 
Mary Pickford, it is different. Mary flies 
by the stars. In other words, Mary, as a. 
strong believer in astrology, will enter a 
plane for a trans-continental trip in a per- 
fectly happy and safe frame of mind, if her 
favorite astrologist has predicted that the 
stars are "right" for flying. In case the 
stars are a little " doubtful," Mary takes the 
train. That's why she changed from 'plane 
to train on a recent trip to New York. 



TEANETTE MacDONALD was very 
J amused at having to deny that she and 
Maurice Chevalier were romantically in- 
terested in one another. Jeanette's name 
crept into the rumors when neither Marlene 



74 



Dietrich's nor Genevieve Tobin's would 
stand up. 

"Really," laughed Jeanette, "it is too 
funny. It is like denying that you are in 
love with your own cousin, or your brother- 
in-law. I thought it was pretty well under- 
stood by everyone that Robert Ritchie and 
I were engaged — and, what's more, w-e are 
going to be married." 



THERE is a strong possibility that the 
Countess de Frasso (nee Dorothy Tay- 
lor) may appear in a picture opposite Gary 
Cooper. Not. as a leading lady, but as a 
partner in a realistic adventure film depict- 
ing all the dangers of hunting big game. 

When Gary and the Countess and her 
husband were in Africa six months ago, 
they made movies of their adventures, with 
which Gary has entertained his friends since 
his return to Hollywood. Dorothy Frasso, 
as the Countess is known in Hollywood, 
proved herself to be a sort of feminine 
Douglas Fairbanks in the pictures, and now 
a couple of Hollywood producers are begin- 
ning to wonder if such a film in feature 
length might not be attractive at the box- 
office. 

Well, there are plenty of women who are 
that crazy to know what the Countess looks 
like! 



CLARA BOW was shopping for a new 
gown in an exclusive Hollywood Boule- 
vard store the other afternoon. There was 
one dress in particular that caught the fancy 
of the original red-headed woman. She was 
all set to purchase the stunning white eve- 
ning gown, when a distressed saleswoman 
came back with the information that the 
identical dress had been sold to another star. 
As a rule, it means dynamite for two movie 
stars to be in possession of the same evening 
gown. There is usually a terrific "kick 
back" on the shop that made the error. 
But with Clara it was different! 

" I'll take it anyway," she said. " I don't 
go to many Hollywood parties and" — with 
a little giggle — "it will come in handy up 
at the ranch! " 



IT is perfectly true that Ann Dvorak has 
given Hollywood the cold shoulder (tem- 
porarily) and signed to make a movie with 
a British producing company. When last 
heard from, Ann and Leslie Fenton (her 
hubby) were still doing considerable "pop- 
ping off" about hard-hearted Hollywood 
producers who work little starlets to death 
for a bare >2,^o weekly. 

I5ut a little bird whispered this news: that 
Ann is in constant communication with 
Hollywood to hear just how much the War- 
are willing to "ante" her contract. 
\\ hen the right figure is reached we wouldn't 
be at all surprised to find Ann and Leslie 
hack in hard-hearted Hollywood again. 



THIS month's stork notes: 
Richard Dix confesses that he and 
Mrs. Dix (nee Winifred Coe) are shopping 
for nursery furniture. 

It's a rumor that Kay Francis and Ken- 
neth MacKennawill have a little MacKenna 
in the Spring. 

With the ( ieorge Lewises, it's a boy. 
Stuart Lirwin and June Collyer also h 



PAULINE FREDERICK is opening a 
show at the famous Fl Capitan in I lolh - 
wood. Pauline, so we are told, would like 
to (online herself exclusively to the screen, 
but with movie parts few and far between 
. . . well, the El Capitan engagement has 
proved a film "comeback" to more than 
one star. 



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NEW YORK, N. y. 



George Raft Won't Look 

At Girls Who Don't 

Wear Make-Up 

(Continued from page 44) 

He doesn't do those things any more. He 
will sit down now and talk with you, frankly 
and with a boyish, friendly manner. And 
before he has talked with you for five min- 
utes, you begin to sense how homesick he is. 

He says it is "for taxi drivers, fighting 
among themselves, for elevateds, subways, 
Broadway after night — noise, hurry, people 
in smart clothes, going places . . ." The 
bustle, the excitement, the tempo of New 
York. 

"Taken for a Ride" 

THE reporters, I think, frightened George 
a little at first. "They certainly took me 
for a ride," he complained to one writer. 
"They sure put me on the spot! Trying to 
find out something about my past that would 
make headlines in scandal sheets . . . trying 
to get the wrong low-down. . . ." 

But the busy sleuths of the Press never 
learned anything against George in all their 
investigating. And now he feels better about 
things. But, however friendly or however 
approving Hollywood may be toward him, 
George will never feel at home there. It 
simply is not his world! 

"This seems like the country," he com- 
plains of Hollywood and Malihu and Bev- 
erly Hills. "What am I to do between pic- 
tures? I don't want to lie on the beach and 
turn the color of a dance floor! I don't want 
to go around in slacks and a sweater — I'm 
not comfortable! I don't drink — so I don't 
want to dawdle about somebody's swimming 
pool in a bathing suit, holding a highball! 
No real night-clubs — imagine a place with 
no night-clubs! What can you do?" 

George is a child of Manhattan. "I grew 
up there, on the streets," he will tell you. 
"I sold papers all through my boyhood and 
saved my money to buy clothes. That's 
what I've always wanted most — nice clothes! 
I used to walk along Broadway at night and 
think how swell it would be to belong there — 
to be one of Broadway's own people. After a 
while, after I got to be a prize-fighter and 
then a fairly successful dancer and was 
known a little and really was one of Broad- 
way's boys — it was grand to walk along 
there at night and remember. . . . 

"I never wanted to leave Broadway even 
for a little while. Ziegfeld offered me a job 
once with a company he was sending fo 
Florida. You know what it always meant 
to anybody to work for Ziegfeld! He offered 
me less money than I was making, dancing 
in a night-club, but he pointed out that I 
would have the trip, a visit to the Florida 
beaches in the winter — and the advertising 
that went with working for him. 

Why He Turned Down Ziegfeld 

I TOLD him that I knew exactly what all 
that meant to a chap like me. But I 
didn't want to leave New York and I didn't 
care about going to any beach. I could wait 
until summer and go to Coney Island. I 
wanted the money I was making — for 
clothes, to wear on Broadway. I wanted the 
kind of life I was leading. Working for him 
couldn't make up for losing those things, 
even for a little while. People couldn't un- 
derstand me. They thought I was crazy. 
But that's the way I am." 

Hollywood is a place of exile for the Raft 
boy, who is being built up to stardom in the 
Valentino manner. But it means money for 
shirts. "All the shirts I want!" he gloats. 
Pictures are "a swell racket," in his own, 
night-club phrase — and even an exile can 
always go back to Broadway for visits, fill 
his lungs with friendly, sooty air, plunge into 
the bustle, see "the boys," go to bed at day- 



light and breakfast at seven in the evening. 
But in the interims he wanders Hollywood 
forlornly, in his meticulously tailored suits, 
his exquisitely matched shirts and ties and 
socks, his custom-made shoes and hats — a 
strange, lithe, lonely figure among the cas- 
ual, be-sweatered sun-worshipers. 

Of course, he has Mr. Finn. Mr. Finn is 
George's own kind, talks George's language 
— the lingo of Forty-Second Street and 
Broadway — and he apparently never gets 
more than ten feet away from his employer. 
A neat, earnest, friendly little chap. The 
studio calls him George's "secretary" and it 
is true that he makes George's appointments 
and attends to divers small details. But I 
think he is most important as a link for 
George with that other world. Raft intro- 
duced him to me as "my bodyguard," add- 
ing, with a sardonic little smile, "A guy who 
plays in so many gangster pictures ought to 
have one. I might be bumped off at any 
moment!" We pretended it was true and 
that we might expect the gunplay to start 
at any moment, as the three of us sauntered 
to the studio commissary for a sedate soda, 
between scenes of "Night After Night." 

Things That Upset Him 

MR. FINN had, it seemed, a day or so 
before, conveyed to George the un- 
settling news that there were people in the 
studio who didn't like him. George was up- 
set. "You shouldn't have told me!" he 
reproached his shadow. "Now, you see, I 
got a worriment on my mind!" 

Mr. Finn disagreed with him. "It's better 
for you to know — so you can be careful. You 
can, maybe, fix it up with them." 

"No. If I try to do that, they want to 
know who told me, they get mad at you, 
everything gets mixed up and then it's 
worse than it was before. I'd rather not 
know about it!" George had a worried 
wrinkle upon his really admirable brow. 

I interrupted this family chat. "If you 
are going to worry about things like that, 
you're going to be busy," I advised him. 
"No one in Hollywood likes anybody who is 
making a success in pictures. And your suc- 
cess has been downright spectacular, you 
know!" 

"If you are going to amount to anything, 
you'll be criticized," Mr. Finn urged. "Why, 
some people even criticize God !" 

There didn't seem to be any answer to 
that. So we went back to George's home- 
sickness. 

"Working in the daytime was pretty bad 
at first," he told me. "I hadn't done it for 
years. My life in New York was all lived at 
night. I used to dance in a supper club be- 
fore the theatre; then rush to do my stuff in 
a niiisiial comedy, changing my clothes in 
the taxi, then back to the club for the mid- 
night show; then to another club, where I 
danced twice — the second time at about six 
in the morning. Then I had something to 
vent home and went to bed. I had 
breakfast when other people were having 
dinner. That's what I like. That's my life. 
Broadway . . ." 

No Highballs for George 

ALL the drama, the excitement, the ro- 
l~\ mance of a big city comes to life at 
night, ' .corge thinks, mourning for the tin- 
seled w hirlpool he has left behind him. "The 
-hots are out then — the big things are 
popping," is the way he puts it. 

It was in night-clubs thai he learned to let 
liquor alone. "I saw what it did to people," 
he explained. "And I decided that I didn'l 
want anything like that to happen to me! 
You've got to have your wits about you — 
there to get along. And liquor does things 
to your wits. Besides, they used to forget 
to be ladies and gentlemen !" 

Being a "gentleman" is a sort of fetish 
with ( leorge. He wants, more than anything 
else in the world (even more than he want-, 
seventeen dozen shirts), to be correct, to 



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78 



know what is "the right thing to do" — and 
to do it, carefully and without a flaw. He 
wants his companions to be just as meticu- 
lous as he is in every detail of their lives. 

He was deeply disappointed in the lovely 
Hollywood lady whom he met at a party 
(she was wearing evening clothes and satis- 
factory make-up) and who, when he called 
upon her a few days later, received him in 
lounging pajamas. He had put on the proper 
masculine attire for calling upon a lady. He 
had spent time and thought and effort upon 
his appearance. It seemed a waste, some- 
how. And rather too bad! He didn't go 
there any more. 

The early part of George's life may have 
been a tussle with circumstances. He may 
have pitted his shrewd wits against the 
seamier elements of a great city. It may be 
true (he has said it was) that the only people 
who believed in him enough to finance him in 
his fight to enter pictures were men who'll 
never crash the Social Register. But, once 
attained, pictures, "the swell racket," have 
been "soft." 

He is still bewildered and somewhat 
amused over the ecstatic reviews of his per- 
formance in "Quick Millions," his first pic- 
ture. Particularly, the comments on a se- 
quence in which he had killed a man and he 
had to make a long walk toward the camera. 

"We did the murder scene two weeks be- 
fore we did the walk," he recounts. "Now, 
how can you look as if you have just killed a 
guy when you haven't? Well, I just saun- 
tered out and did the scene, dead-pan — as 
casually as I would stroll out for a glass of 
water. And the critics said, What a great 
performance! The cold-bloodedness of the 
man! Can you beat it?" 

He is the picture, the very epitome, of the 
popular conception of the gangster — hand- 
some, dark, sphinx-like. Dancing and prize- 
fighting have given him a cat-like grace of 
movement. Remember him as the body- 
guard in "Scarf ace" — with his naive love for 
fine raiment, his worship of formality and 
elegance? There is a nice, boyish something 
about George that belies the sinister sug- 
gestions of his appearance. The twang of 
the New York streets is disappearing from 
his speech under the tutelage of a teacher 
of diction. He will be a valuable addition 
to any studio — if they don't spoil him. But 
he will never be happy — he will always be 
an exile — in Hollywood. Unless he finds a 
girl — preferably pale — to share his exileJ 




Gloria Stuart feels pretty safe at the top 
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Movie Classic's Letter Page 

{Continued from page S) 

something deeper than looks and acting 
ability, deeper even than personality. It's 
something that can't be defined, but it's 
there, and how we women love it! 

Charles Laughton belongs to the second 
class. He's not a leading man. He played 
the villain in his first American picture. 
And yet I, at least, came out of the theatre 
feeling only pity for the man he portrayed. 
"Devil and the Deep" introduced a very 
complex character in Tallulah Bankhead's 
husband. He was a man insanely jealous, 
cruel to his wife, and — loved and admired 
by all who knew him. Doesn't sound plaus- 
ible, does it? But Charles Laughton made 
it so real that he got the sympathy that 
should have been awarded to Tallu'. You'll 
like that man. He's fat, and not handsome, 
but you forget that the moment he comes 
on the screen. He's such a thoroughly 
splendid chap, and such a great actor that 
he merits more roles such as this. 

Dorothy Suter, Youngstown, O. 



Why Not Follow the Original 
Story? 

WHY do studio executives allow their 
staff to purchase excellent stories, and 
then change them so radically, that persons 
who read the original come away from the 
theatre, keenly disappointed in the pic- 
ture? 

Obviously, it is necessary with some 
stories. But was it necessary in the case of 
Arthur Stringer's "Mudlark"? A clean 
appealing story of a man's and woman's 
bitter struggle to understanding love and 
successful livelihood. 

Why was a tawdry night club, a sniffling 
nose (which was meant to be funny, but 
appeared ridiculous), also a bloody brawl, 
introduced in this vehicle? None of them 
was present in the story. 

Because of the few really good stories to 
be had in comparison to the great many 
pictures produced, I suppose we are bound 
to see some "flops." But when one goes to 
a theatre, knowing a certain story to be 
splendid, and expecting the utmost in enter- 
tainment, only to find all sorts of cheap 
innovations, it is disgusting. 

So many times the very essence of the 
theme is lost through these changes. Why 
do we read of authors disagreeing with pro- 
ducers over the filming of their stories, if 
this is not true? 

Florence Reinhardt, Oakland, Cal. 

Good News 

COLUMBIA will no longer get stories to 
fit certain stars, but will get players to 
i ir stories. What glorious news! Truly 
Columbia is to be congratulated! I think 
this is i decided step in better picture 
building. 

I low anaemic has been the acting of cer- 
tain stars "brought up" to play specific 
role-,! How uninteresting to have the same 
"type" hashed and rehashed. 

.it .11 tors of former years had to offer 
iy to be great. Lately, the suffering 
pul »lu had to be content with the same dish 
offered by a company who had signed i 
player for a long-term contrai t. ( >ne could 
Bhul one's eyes, yet know when "the artist" 
would raise an eyebrow! If it wet 
.1 < hange ol settings and costumes the pi< 
tines might all have had t he 3ame titles. 

I believe this move of Columbia will put 
new blood into the picture industTj and 
tli. 'i the interest of the picture-going public 
will be stimulated, .it least, lifts- per i int. 
More power to Columbia ! 

Irene F. Cohen, Leavenworth, Kan, 




Her Nervous Prostration 



DO you know her . . . this poor 
woman who wakes up as tired as 
she went to bed? 

Her head is still aching : : . her nerves 
are ragged . . . she's on the verge of tears 
as she faces another day of work. 

How many young women are fast ap- 
proaching a nervous breakdown because 
they let suffering due to female weakness 
rob them of their strength and health. 

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POPULAR STAR 



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Name 



Little Caesar Tosses Some 
Verbal Bombs 

(Continued from page 41) 

pay his meagre rent and give his children 
decent educations. I hate the thought that 
there are so many men who cannot have 
the necessities of life and enough of the 
comforts to make life more than a bearable 
thing. 

"I hate the thought that we have to 
harden ourselves to this in order to go on 
living. Human nature is such that if we 
thought too deeply about things like these, 
we would all go mad and no good would be 
accomplished. But I hate sentimentalities 
— mottoes, slogans, charities — futile ges- 
tures that touch only the surface of the 
world's wrongs, too cowardly to dig down 
and dig up the roots. 

Says Children Are Taught Lies 

" T HATE the way I was brought up. I 
J_ hate the way all children are brought 
up — on lies. Lies that, when we reach 
manhood or womanhood, leave us totally 
unprepared for the living of life. We are 
taught things that should be so, but are not 
so. We are not taught the things that are 
really so. The legend of Santa Claus is only 
one of dozens of such tales we have to un- 
learn when we grow up. It is symbolic of 
the whole fairy tale education of children. 
"If I had children, I would not teach 
them lies about God. I would let them seek 
their own God — and find Him, if they could. 
I would not teach them lies about Life, the 
beauty of it, the fairness. I would teach 
them the hard, inescapable facts of Nature, 
the ruthless and rhythmic way in which she 
works, the small parts we are of the whole. 
I would teach them about decay and 
Death. I would make them accept it, not 
fear it, not attach the importance and 
dread to it that most people feel. I would 
teach them that it is an inevitable part of 
the scheme of things, as much to be ex- 
pected and as casually to be accepted as 
any other factor of the body or the world. 
I hate the way children are 'educated' 
to-day. 

"I hate the thought that we are ap- 
proaching, here in America, another Fall of 
Rome. When luxury and revolution and 
threats of revolution and decadence and 
other such elements reared their ugly heads, 
Rome was doomed. And I have the feel- 
ing that, here in America, such elements 
are rearing their ugly heads to-day. I hate 
the thought that the Youth of America has 
no better ideal to strive for, no higher soap- 
box to mount, no greater Men and Causes 
to work for than it seems to have. 

What Price Individuality? 

"T HATE the knowledge that if a man 
X does depart one iota from the thing he 
is taught to say or is expected to do, he is 
instantly under suspicion. He is accused of 
being a Red or a dangerous lunatic. 

"I hate Prohibition — of course. It's 
hypocritical. 

"I hate the thought of having too much 
money. The Other Fellow would haunt 
me. I want only enough to give my family 
the things they need and want. 

" I hate to be tied to one place. I like to 
work in Hollywood, but I'd hate the 
thought of having to live here, or any other 
place, permanently. I love to travel, to 
know the peoples of other lands, to stay 
there and talk their language. 

"I hate to study. I have managed to ac- 
quire six languages by forcing myself to 
study the rudiments and getting the rest by 
talking to the natives. I hate to work. 
I'm lazy to the bone. I think I was a lizard 
in a past incarnation. (I believe in a general 
state of reincarnation.) But because I hate 



to work, I work all the harder, force myself 
to try for perfection down to the last small 
detail of every performance I give. 

"I love the movies and I love my work, 
because I believe in pictures — in the good 
they do — in the doors they open to many 
people. I believe in my work when it is 
honest, when I can be as sincere with the 
characters I am talking to as I am, here and 
now, talking with you. I hate anything I 
can't believe in. I do believe in pictures. 

"I hate those players who do not take 
picture work seriously, who profess to look 
down on it or say they are working in 
movies only for the money to be had. 

"I hate worry, and so I am constantly 
worried. Worried about the current pro- 
duction, whatever it happens to be, wor- 
ried about the direction, worried about the 
other members of the cast, the very clothes 
they wear, the dressing of the sets. 

Hates Publicity — Sometimes 

I HATE publicity — at times. I love to 
browse along the boulevards of the 
world, poking about in old book shops and 
in antique shops, unnoticed, unrecognized. 
When I can't do that — when some stranger 
nudges some other stranger and says, 
'There goes Eddie Robinson!' — I am furi- 
ous, because I am made to feel self-con- 
scious. And my chief and most violent 
hate is to be made self-conscious. And 
that's what public recognition does for you 
when you don't feel up to it. 

"I also hate the thought, however," — 
and Eddie laughed that pleasant, mellow 
laugh of his — "that the day may come 
when no stranger will recognize me. I sup- 
pose I'd hate that worst of all, knowing 
what it would mean. 

"I hate telephone calls early in the 
morning. I can snarl in my best Little 
Caesar manner when anyone is unwise 
enough to dial me before ten a.m. I hate 
pink teas and the stiffness of formal dinner 
parties. I hate any person, or place that is 
not natural, real, unaffected, human. 

"I hate to write letters — and never do. 
I hate to make speeches, because speech- 
making makes me self-conscious; and I can 
become Little Caesar again when I am called 
upon to 'perform in the parlor.' I hate to 
spend money for garters or suspenders. I 
also hate to buy new straps for my wrist 
watches. I've carried the same walking 
stick for years, and I don't know whether 
this means that I love the cane or hate the 
bother of buying a new one. 

" But of all these hates, some important, 
some unimportant — / hate intolerance the 
worst. Intolerance of any person, or any 
creed, or any race, or any boundary line on 
the face of the earth, or on the faces of us 
who move, so temporarily, over the face of 
the earth. 

"I love individuals. I love my work. I 
love my wife and step-daughter and my 
family. If there is a Little Caesar in every 
man, there is also a Ciod in every man. It 
behooves us to look for Him." 



lUil You Know That — 

<i;irliii h;i - -|><nl much of hex lime in 

Sweden ;ii the estate of \ ictor Seastrom, 
famous Swedish director, who l«'fi Holly- 
wood jii-l Ixfon- the talkies, in search of 

artistic freedom"? 

Mini- MacMahon, in private life, i- I lie 

wife of Clarence Stein, famous \r« 'i ork 

arc liileet anil llial when she finishes a 

picture, one or the other rushes across the 
continenl bo thai thej can he together? 

Gilbert Roland, who went with Clara 
How once upon a time, i- her leading man 

in "( all lier Sax age"? 



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Physical culture training put 
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210-C Bonomo Bldg., Hollywood, Calif. 



[ 



SCREEN STORIES! 




^Stories Sold In 1 Day 

"NTEVER before have Talkie and Movie producers so 
± ^ urgently needed short Stories and plots! One of 
the leading independent studios just ordered six stories in 
one day from this com pa n //. They pav — and pay big for 
simple plots with merit. Victoria Morton of New York 
received S3000 for her efforts. 

Perhaps this is your cluince for quick 
easy money. No matter if your writings 
do not quite come up to producer's stand- 
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send in your *tory for Free Examination 
and advice. It costi nothiiiK. IVr.mpH we 
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Daniel O'M alley Co., Inc. Dept. L-16. 
1776 Broadway. New Yo rk. 




CURLS 

The straightest hair can be made 
naturally curly with Curio-Wave. 
FRFF Booklet arid, sample of \V 
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CURLO-WAVE CO.. 1031-W Capitol Bldg., Chicago 




Gray Hair 

Best Remedy is Made 
At Home 

To half pint of water add one 
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Compound and one-fourth ounce of 
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up or you can mix it at home at 
very little cost. Apply to the hair 
twice a week until the desired shade 
is obtained. It imparts color to 
streaked, faded or gray hair and 
makes it soft and glossy. Barbo will 
not color the scalp, is not sticky or 
greasy and does not rub off. 



WAKE UP YOUR SKIN 




Reveal its 

TRUE 
BEAUTY 

When you have 
straightened out your 
new frock . . . added 
that final touch to 
your hair . . . given 
your fingernails the 
last once-over . . . 
glance in the mirror 
and ask yourself hon- 
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that should be yours. No matter how gorgeous 
your clothes are . . . your most fascinating ap- 
peal is a healthy, glowing complexion. Are you 
allowing it to lie dormant beneath your skin. 
Wake it up! Bring forth all your feminine 
charm that is the heritage of woman. You have 
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absolutely fascinating. 

Creme Variete 



7 



AIDS TO BEAUTY 
CREME VARIETE is a liquid cream 
that replaces in every respect and ful- 
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cold cream, cleansing cream, pore 
cream, tissue cream, astringent cream 
and nourishing cream. CREME 
VARIETE may be applied in place of 
any of these individual creams. It 
does not contain any waxes to harm 
the skin. 



$ 






FREE I Cecelia Bella. Inc. 12 Boat 32 St.. N. Y. C. Dopt. E 

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a* 

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■r-NON'T lei larnc, flabby breasts 
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81 



ALL GRAY HAIR 

— OR NONE! 




Nothing ages a man or a woman's face 
like a streaky mixture of youthful hair and 
faded gray. Watch for the first sprinkling. 
It's easy THEN to keep ALL your hair one 
even shade and avoid that touched up look 
by using FARR'S, a modern type of prepa- 
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a NATURAL, soft, youthful shade that will 
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everywhere. 

FARR'S FOR GRAY HAIR 

— — — — - — - free SAMPLE — — - — — -—( 
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I 79 Sudbury Street, Boston, Mass. 
| Send FREE SAMPLE in plain wrapping. ' 

| Name I 

| Street | 

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1 STATE ORIGINAL COLOR 

I OF HAIR I 



IndiieiL. 



YOUR BUST 
THIS NEW EASY WAY! 

IS your bust large? Reduce that 
bulging, matronly chest-line to 
the slender, girlish lines of youth 
Take 3 or more inches off your 
bust measure. Flabby, sagging 
f;it disappears swiftly. Bust is 
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lovely. No sag. No wrinkles. 

Formula-X 

lust get big container of my 
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,-it home and watch your 
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Big Saving Now 
Write Today 

Take advantage of special in- 
t roductory offer now. Senrl only 
$1 95 for large container of 

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and reshaping the bust, A $5.00 value at a saving of 
over Si. 00. Offer Limited— send $1.95 at once. 

BETTY DREW, (Dept. K-ll) 
799 Broadway, New York, N. Y. 

^LVIENE«miE/qTRE 

•nd CULTURAL Fubjccts (or personal development — St«*. Tending; 
il-Drtran. Sta»o and Concert Dunoini!. Vooml, Bonen. Mimical 
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82 




Between Ourselves 

{Continued from page 6) 

it hadn't been kidded before on the screen, 
and now George M. Cohan is rounding off 
the job in "The Phantom President." 
"Crooner" was a hilarious debunking of the 
Great Lovers of the Air Waves. "Blessed 
Event" and "Is My Face Red?" did the 
same thing for the gossip columnists. 
"Horse Feathers," sheer nonsense, gave 
football a push on the noseguard — and 
"Rackety Rax" is about to do likewise. 
"The Crooked Circle" and "Strangers of 
the Evening" made murder mysteries 
comic. "Make Me a Star" and "Movie 
Crazy" laughed about the struggles — 
which usually aren't funny — of getting into 
the movies. "Once in a Lifetime" was a 
devastating joke at Hollywood's own ex- 
pense. Pictures like these are something 
new on the Hollywood horizon, which used 
to be dotted with custard pies, surprise 
falls, funny faces and old clothes to extract 
a laugh from the paying customers. 



WILL ROGERS, writing in the Hearst 
papers, comments: "There is one 
epidemic now that I think could be discon- 
tinued. . . You sometimes do wonder if it's 
absolutely necessary before a picture is re- 
leased that it have the word 'hell' in the 
title. Looks like if they had to have it, 
they could put more hell into the picture 
and leave it out of the title." I hope the 
producers don't neglect reading Will. He 
has lassoed a thought that has struck 
hordes of moviegoers, who are getting in 
the habit of cussing just by looking at 
movie billboards. It's the producers now — 
not the small boys — who are writing on the 
fences of the nation. 



GARBO and Dietrich, Constance Ben- 
nett and Gloria Swanson are not the 
greatest women rivals in Hollywood. Joan 
Crawford and Norma Shearer are. They 
are the most ambitious actresses in the 
whole movie village — and for either to reach 
the peak of success, she will have to top the 
other. That looks like a tough job. How 
could Norma be better than Joan in " Rain," 
or how could Joan be better than Norma in 
"Smilin' Through"? 



BEFORE very long, it isn't going to 
matter if Emil Jannings ever comes 
back to America. And you'll know what I 
mean if you saw Charles Laughton as 
Tallulah Bankhead's insanely jealous hus- 
band in "The Devil and the Deep." This 
suave English character actor, who is 
much younger than he looks, is built along 
the Jannings lines — and by the mere flicker 
of an eyelid or a twist of his mouth can 
reveal more emotion than most of the 
screen's Great Lovers put together. You 
weren't supposed to like him in "The 
Devil and the Deep," but if you could help 
doing so, you're a better man than I am. 
He has the glamour of subtlety, which is 
even rarer than the "mystery" so many 
stars try to cultivate. He plays Nero in 
"The Sign of the Cross," and next is star- 
ring in "Payment Deferred," in which he 
plays an undetected murderer, dramatizing 
the horror of conscience. Give yourself the 
treat of discovering him! 





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about YOU? shall men say "SHE IS LOVELY - 

SO EXQUISITE!"B 



BY PATRICIA GORDON 




% 





The Music ends — softly. A momentary hush. A throng; but you 
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Some one says, "She in lovely!" No conscious flattery this — 
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JANUARY 



+m 




1 






OAN 

:rawfordi 

THE STAR WHO 

NEVER 
RESTS 








■«■— ^m 








I^^^p^a i^Vfc 






vJ 






Kay 






Francis i 








ANY GIRL CAN LOOK LIKE GARBO . .maybe! 




The fewer colds the less risk of 



MASTOID TROUBLE 



Gargle with Listerine twice a day to fight 

Colds and Sore Throat 



In a plea for the prevention of 
colds, a noted authority makes 
this startling statement: "Not 
only mastoid and sinus infec- 
tions, but bronchitis, asthma, 
and pleurisy are usually trace- 
able to preceding colds." 

Most colds begin in the 
throat. The germs that cause 
them or accompany them enter 
through the mouth. Some lodge 
there, others travel to the 
throat from whence they move 
upward to the nose. 

Clearly, one of the major 
steps in preventing colds is to keep the mouth and 
throat as clean as possible. That is why the twice- 
a-day gargle with full strength Listerine has 
always been recommended. 

The moment Listerine enters the mouth it 
begins to kill germs. As it sweeps over the 
mucous membrane, it kills outright the millions 
of bacteria clinging to it. Tests show a reduction 
as high as 99% of such bacteria. What a pro- 
tection that is at all times — and invaluable when 
a cold is coming on! 

Controlled tests on hundreds of men and 
women have revealed that regular twice-a-day 
users of Listerine, contracted fewer colds than 




When your throat is sore or you feel a cold 

coming on, gargle with Listerine every two 

hours. It often relieves the sore throat and 

checks the progress of the cold. 



those who did not gargle with 
it. Their colds were also less 
severe. 

The brilliant results accom- 
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ing colds, cannot be expected 
from harsh, bitter, powerful 
mouth washes which damage 
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infection rather than retards it, 
because irritation makes it easier 
for germs to gain entrance. 

Listerine's success lies in the 
fact that while highly germicidal 
it is at the same time safe in action; does not 
irritate delicate tissues. 

Make a habit of gargling with full strength 
Listerine every morning and every night as an 
aid in preventing colds. Remember also to avoid 
draughts, sudden changes of temperature, cold 
or wet feet, and over-exposure to cold tempera- 
tures. Physicians also advise against over-eating 
and over-indulgences of any kind. Dress ade- 
quately for the day, bathe frequently, and get 
8 hours sleep. When a cold does develop, get 
into bed and call your doctor. A cold promptly 
treated may spare you years of misery and ill 
health. Lambert Pharmacal Co., St. Louis, Mo. 



LISTERINE SUCCEEDS BECAUSE SAFE 



VHAT A rUUL 



SHE IS! 






^H 



* * 



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___To-wor^ rw' »u brush * 

2 *»-?"** 



Those hours of "primping" 
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"Pink" upon your tooth brush 
indicates that your gums are too 
tender— that they bleed easily. 
This condition may lead not only 
to serious gum troubles such as gin- 



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Restore to your gums the stimu- 
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\ 



food that gives them so little natu- 
ral work. Each time you clean your 
teeth with Ipana, rub a little more 
Ipana directly on your gums, mas- 
saging gently with your finger or 
the tooth brush. 

Start it tomorrow morning. Buy 
a full-size tube. Follow the Ipana 
method regularly and your teeth 
will shine brighter, your gums 
will be firmer than they've been 
since you were a child. "Pink 
tooth brush" will depart. 



BRISTOL-MYERS CO.. Dcpt. 11-13 
73 West SlKec New York. N. Y. 

Kindly send me a trial tube of IPANA TOOTH 
PASTE. Enclosed is a two-cent stamp to tovci pull) 
the cost of packing and mailing. 

Name 



Stntl 



City. 



. Stall. 



A Good Tooth Paste, Like a Good Dentist, Is Never a Luxury 



a < ost>y 



THE TABLOID MAGAZINE OF THE SCREEN 



DEC 27 m2 



VOL. 3 No. 5 

c v — 



Movie Classic 



r^&^ 



JANUARY, 1933 




KAY FRANCIS 
Proves That 

Brunettes 
Can Win! 



If anyone has punctured the 
legend that "gentlemen prefer 
blondes," it is raven-haired 
Kay Francis. And it looks as if 
she is going to keep on doing it 
for some time to come — for she 
has just signed a new two-year 
Warner contract at an increased 
salary. 

And the fact that Kay is so 
popular is a compliment to 
moviegoers — for she appeals 
primarily to intelligent, sophis- 
ticated people. You never see 
Kay in rags, copiously weeping. 
You see her as girls who have 
style and wit and can take care 
or themselves in any situation. 

Kay and husband Kenneth Mac- 
Kenna own an old Colonial 
farm on Cape Cod, to which 
they plan to retire some day and 
raise a family. But until that 
distant day, watch for Kay to do 
more clever things like "Trouble 
in Paradise" and "Cynara"! 



CA 



FEATURE ARTICLES 

Clark Gable's New Year Resolutions Gladys Hall 13 

Any Girl Can Look Like Garbo — Maybe! Jack Grant 14 

Walter Huston — the Actor No Moviegoer Really Knows Faith Service 17 

Stars Who Hold Records for 1932 in Hollywood Mark Dowling 18 

You're in for Some New Chills Grant Jackson 20 

Boots Mallory — She's a Star After One Picture! Elisabeth Goldbeck 22 

Hollywood s Own Slant on George Raft Dorothy Manners 37 

Joan Crawford, the Star Who Never Rests Faith Service 38 

"Tony," Tom Mix's Horse, Says Goodbye Jack Hill 40 

Eddie Cantor Would Rather Be "Papa" Than President . . . .Helen Louise Walker 47 

The Stars Are At It Again — Giving Bigger and Better Parties .... Carol Maynard 48 

Is Lon Chanev's Son Fated to Surfer for Films, Too? Nancy Pryor 54 

MOVIE CLASSIC TABLOID NEWS SECTION 

Belle Bennett, Famous Screen "Mother," Dies at Age of Forty-One. . .Evelyn Derr 24 

Mae West Is Robbed of Famous Diamonds in Daring Hold-Up. . ■ .Dorothy Donnell 25 

Newest Child "Find" of Films Was Gassed with Bonus Army Jerry Bannon 26 

Mrs. Adolphe Menjou Wonders Why Husband 

Now Wants Divorce Madge Tennant 27 

Pauline Starke Claims Career Was Injured by Director's Remark. . . .Janet Burden 28 
Studio Seeks "Lion Man" As Rival for Weissmuller — 

Selects Fellow-Swimmer Doris Janeway 29 

Newcomers Win Big Film Roles Away from Hollywood Favorites Ann Glaze 30 

PICTORIAL FEATURES 



Anita Page 

Talu Birell 

Lupe Velez 

George Brent, Cary Grant, Clark Cable, 

Belle Davis 

Lorella Young 

Joan Bennett . 



31 Wynne Gibson 36 

32 Mary Carlisle 41 

33 Lew Ay res 42 

Mary Brian 43 

34 Johnny Weissmuller, Jackie Cooper 44 

35 Bruce Cabal 45 

46 



MOVIE CLASSIC'S DEPARTMENTS 

Between Ourselves Larry Reid 

Taking in the Talkies — Reviews Larry Reid 

Strictly Personal Mark Dowling 

Our Hollywood Neighbors — Close-Ups Stacy Kent 

Looking Them Over — Hollywood Gossip Dorothy Manners 

Movie Classic's Letter Page 56 

COVER DRAWING OF KAY FRANCIS BY MARLAND STONE 



10 

11 

50 



=c/#o= 



T^O 



DOROTHy CALHOUN, We»Urn Editor 



STANLEY V. GIBSON, Publisher 
LAURENCE REID, Editor 



HERMAN SCHOPPE, Art Dlr.ctor 



Movie Classic is published monthly at 330 E. and St., Chicago, III., by Motion Picture Publications. Inc. Entered as second class matter Julv zp, 1011 at the Post 
office 111 Chicago, Illinois, under the Act of March 3, 1870; printed m U.S. L. Editorial and Executive Offices, Paramount Building, 1301 Broadway. N*u York ( ity, V, 1 . 
Copyright 1032 by Motion Picture Publications, inc. Single copy roc. Subscription for possessions, and Mexico $1.00 a year, Canada i 

( I'linlrics, $2.30, European Agents, Atlas Publishing Company, 18 Pride Lane, London, B. C. /. Stanley V . Gibson, President and Publisher, William S. Plttil, I let 

President. Hubert P.. ( anfield, Secretary-Treasurer. 



MOVIE CLASSIC comes out on the 10th of every Month 



Between Ourselves 



W1ILN the snow begins to fly, that's the time when all 
good moviegoers like to look back over the year just 
past and name the ten best pictures. In fact, it proves that you 
are a good moviegoer if you have the habit. No one can accuse 
\ !)ii of going to the movies just to kill time, instead of shopping 
t >r the best you can get in drama, comedy or romance. If you 
are looking for something to enrich your own emotional exper- 
ience, something to cherish in memory — then you are more 
than just a moviegoer; you are one of the best friends that I he 
Movies of the Future have. For the whole uplift of entertain- 
ment depends on whether or not you and I appreciate the good 
pictures when they do come along and reject the weak ones. 

PERSONALLY, I've found it a tough job to list the ten best 
pictures of the year. 1932 has been the biggest year yet, in 
the history pf the talkies, for entertainment that really mattered. 
I here have been at least thirty — count 'em, thirty — standout 
pictures. That's an average of one every twelve days, which, if 
you remember the old movies, is something to telegraph — not 
write — home about. 

BEFORE I pared my list of thirty down to twenty and then 
to ten, I asked myself, "What do you want 'best' to mean?" 
And back flashed the answer, "The most memorable." Sub- 
consciously, that's what everyone means when he speaks of 
"the ten best," whether he's referring to Ed Wynn puns or 
lame-duck Congressmen. So here goes, and may the chips fall 
where they may. These are the ten 1932 pictures that gave me 
the most to remember them by: 

"American Madness," "Back Street," "A Bill of Divorce- 
ment," "Broken Lullaby," "Grand Hotel," "I Am a Fugitive 
from a Chain Gang," "Life Begins," "Maedchen in Uniform," 
"Scarface," and "Smilin' Through." 

AND these are my reasons: "American Madness" came along 
at just the right moment, and said just the right thing — 
that America was letting its ideals slip; moreover, it said so with 
power and gave us the greatest mob scene of the talkies. Of all 
the movies of "forbidden" romance during the year (and there 
certainly were plenty of them!), "Back Street" towered above 
all the others with its sensitiveness, its human simplicity, its 
dovvn-to-earthness. "A Bill of Divorcement" was likewise 
powerful in its simplicity, but had the additions of intensity 
and suspense; it is the talkies' most dramatic study of suppress- 
ed emotions. "Broken Lullaby" was the most effective anti- 
war propaganda since "All Quiet on the Western Front" elec- 
trified the world. "Grand Hotel" was vivid, passionate melo- 
drama, acted with cameo clearness by a remarkable cast. 

"T AM a Fugitive from a Chain Gang" left me limp from the 
JL conflict of emotions it stirred up in me — the horror of 
brutality and injustice that it gave me. "Life Begins" brought 
the great drama of Birth to the screen for the first time — and 
brought it vividly, with many moods. "Maedchen in Uniform" 
was the year's most sensitive picture — a keen study of young 
i.irls, acted with such naturalness that it transcended drama 
and became reality. "Scarface," in its brutal, unashamed force, 
c'id more than all the other gangster pictures together to make 
gangland a menace, not something to be taken for granted and 
dismissed, like the prohibition laws. "Smilin' Through" was 
the zenith in effective sentimentality— a love story that went 
about the business of being just a love story, with directness and 
dispatch, and with no intrusion of unnecessary side drama. It 
created a powerful mood. Each of these ten did. 1 hat's why 
I'm raving about them. What's the use of going to the movies, 
anyway, if you can't get dramatic, yourself, inside? 



THE pictures I'd list as the ten second-best are: "Blessed 
Event" — the most devastating of all the year's many 
satires; "Dr. Jekyll and Mr. Hyde" — and I defy anyone to 
forget Jekyll's transformation into Hyde: "The Doomed Bat- 
talion" — a war picture that painted the agony and terror of 
battle without being brutal or sordid; "The Man Who Played 
God" — subtly sentimental drama of bitterness and happiness, 
realized to its utmost by George Arliss; "The Mouthpiece" — 
which, with its powerful, biting, dramatic irony, started an 
avalanche of expose pictures; "Once in a Lifetime" — Holly- 
wood's side-splitting laugh at itself, and even an improvement 
over the play; "Payment Deferred" — a horror story whose 
horror was intense because it dramatized conscience, not 
hideous characters; "Shanghai Express" — which, whether 
realistic or not, made the Orient more vivid than it had ever 
been in the movies before; "Strange Interlude" — the most 
ambitious picture of the year, which, while lacking the intensity 
of the play, was still fascinating with its "asides"; and "What 
Price Hollywood?" — Hollywood's best dramatization of itself. 

FOR months (I've forgotten just how many), I've been ham- 
mering away on this page to persuade the movies to drama- 
tize the depression and unemployment, to get busy and mirror 
the dramatic times we are going through. The cameras went on 
grinding out artificial dramas, and my shouts were lost in the 
commotion. But the movies finally have caught the idea — and 
are seizing upon it as an inspiration. Don't pat me on the back; 
send your congratulations to Franklin D. Roosevelt, the well- 
known newsreel star. He is the man who worked the miracle. 
He coined the phrase, "the forgotten man" — and the phrase 
stuck. The more it was used, the more dramatic it became. 
Finally, everyone was conscious of this out-of-work, out-of-luck 
chap, this unsung unfortunate. It came to be realized that this 
"extra" would go down in history, while many of the leading 
men in the great modern drama would be the ones forgotten. 
The studios assigned writers to create scenarios about him. 
But Columbia beat all the others to the draw with "The For- 
gotten Man," to star Jack Holt. Columbia ought to be called 
the gem of the movies for that — if they only live up to our 
expectations. Make enough people bitterly conscious of the 
plight of the unemployed, and something will be done about 
unemployment in a hurry. And the quickest, most efFective 
way to make people conscious of it — as I've been saying, over 
and over (apparently to myself) — is by way of the movies. 

THIS has certainly been a big year for comebacks. Clara 
Bow, newly launched on what she calls "a second career," 
has finished "Call Her Savage." Corinne Griffiths' comeback 
picture, "Lily Christine," made in England, is ready for release 
in America. Alice White, once Clara's great rival, comes back 
in a featured role in "Employees' Entrance." Vilma Banky is 
now abroad, making the exterior scenes for her film comeback 
in "The Rebel." Harry Langdon, the wistful comic, gives Al 
Jolson a run for first honors in "Happy-Go-Lucky." Both have 
been away a long time. Colleen Moore is impatiently awaiting 
her chance at M-G-M, where she is under contract. Tom Mix, 
away for three years, again is leading the cowboy parade. 
The public apparently hasn't found any substitutes for "the 
old, familiar faces." Moviegoers don't like to see their old fav- 
orites crowded out to make way for the new. They want both! 




TOGETHER FOR THE FIRST TIME ON THE SCREEN! 



ETHEL 



'&9 




The Royal Family of the American Show World 



You hear it every where... whispers from the West gather like a storm... 
underground report- travel across the breadth of America ... ONE OF THE 
GREATEST PICTURES OF ALL TIME IS COMING: The >as t resource „| 
M CM. the money, the talent, the genius of the most celebrated producing 
company on earth are focused on the creation of a mightv entertainment 

RAirVTIH 

with RALPH MORGAN • DIANA WYNWARD 

Directed />> Richard Bolttlamky • s<r«.» Play 1,^ t harlei '/,/, trthur 



A METRO-GOLDWYN-MAYER TRIUMPH/ 





M.i'lnuiii. •.nut or rjr\ i| ' 

*n. b« OOC ,. r .,|| 

«.l ll.. .. .' 



Ileli !■■ ii" ihi 

-in , mij In nil 

in-. id. < 



Taking In The Talkies 

Larry Reid's Slant On The Latest Films 




5 J I V £ R F° r a well-earned change, Edward G. Robinson leads an honest movie 

life — and the result, in my mind, is Robinson's best picture. (And that 
DO L L A R is saying a mouthful.) It is a vivid chunk of American history, built 
around the rise and fall of a dramatic silver miner. The setting is Col- 
orado during the last part of the last century. The magic metal, silver, opens wide the 
gate to fame and fortune for this pioneer with a great dream — and he steadily rises to 
positions of power, from Grant's Administration to McKinley's, finally becoming U. S. 
Senator. But he is too idealistic for his own good — too unsuspecting of an adventuress 
(Rebe Daniels), for whom he divorces his wife of many years (Aline MacMahon). It is col- 
orful. And the acting — -particularly by Robinson and Aline MacMahon — is fine. 




T H E O L D 
DARK HOUSE 



As a horror picture, this is one of the best yet. It is almost 
continuously "creepy," it positively broods with terror — and 
there is a minimum of hokum. And, aside from what hap- 
pens (which is plenty!), the acting of an exceptional cast, 
headed by Boris Karloff, gives you something to remember it by. It gets off to a whirlwind 
start — literally. A violent storm sends a group of benighted travelers for refuge to a lonely, 
decaying house, where they are unwelcome guests — because one room of that house holds a 
frightful secret. Their witch-like hostess (Eva Moore) and her hideous deaf-mute servant 
(Karloff) teach them fear. Melvyn Douglas, Gloria Stuart, Raymond Massey, Charles 
Laughton (in a comedy role) and Lilian Bond are all excellent as the victims of terror. 




IAMAFU gitive 
FROM A CHAIN GANG 



In a different way, this picture is as powerful 
and as realistic as " Scarface," and again Paul 
Muni proves that he is one of America's 
great actors. This time, however, you don't 
like him in spite of his role; you like him because of it. Convicted of a crime he did not 
commit, he is sentenced to hard labor with a chain gang; he escapes, and tries to win his way 
back to a normal life, even to find romance; but he is a haunted man and eventually he gives 
up the struggle to remain free, for a climax that is dramatically intense. I warn you to be 
prepared to grip the arms of your seat. The suspense is terrific. . Of the large supporting 
cast, Glenda Farrell, as the girl who preys on his fears, stands out. 




RED * n two res P ects > I'd sav Clark Gable runs into luck in "Red Dust" — he has 

Jean Harlow as co-star, and once more he has a role with some "menace" in 
D U S 1 it- But in two other respects, he still is out of luck — for, once again, he 

doesn't have a role of the size he deserves, and once again, his co-star walks 
off with the picture. In the present instance, it may surprise many that Jean accom- 
plishes this feat. But the truth of the matter is that, if it weren't for Jean, the picture 
would be just another of those triangle dramas of the Orient. In this case, the hero loves 
another man's wife (Mary Astor), but besides his conscience, he has a hard-boiled, good- 
natured adventuress (Jean) to battle. Her buoyancy saves the day. Gable and Mary Astor 
do well enough, but they don't have enough to do. 




TROUBLE IN 
PARADISE 



If you don't think that director Ernst Lubitsch is largely 
responsible for the success of Chevalier, I urge you to see 
"Trouble in Paradise." It is a typical Chevalier piece, minus 
Chevalier. The plot is trivial and merry, and it flows along 
with all the rhythm of a gay waltz; the dialogue is witty and semi-naughty; and the cam- 
era performs amusing and unexpected little tricks. The plot deals with the activities of 
a delightful, unscrupulous fellow (Herbert Marshall), his pickpocket sweetheart (Miriam 
Hopkins), and a wealthy widow (Kay Francis) who first adopts him as her secretary and 
then decides to promote him to be her husband. All three act smoothly and well — but 
Miriam, whose fingers itch when she sees jewels, also deftly steals the picture. 




SHERLOCK 



Fiction's most famous detective is with us again, and this time he 
is brought completely up to date. When Conan Doyle created 
HO L M E S him, Sherlock, for all his cleverness, was a holdover from the Vic- 

torian era, and the criminals he caught were juveniles compared 
to the brutal master-crooks of to-day. The producers shrewdly realized this, and mod- 
ernized both the super-detective, Holmes, and the super criminal, Moriarty — with results 
that pack fast-paced excitement, as well as suspense. The principals of the cast are all 
British. Give Brook, who was Sherlock once in silents, again is a highly intellectual, fearless 
and dryly ironic detective. Ernest Torrence, returning to villain parts, is superb as Mori- 
arty. And a pretty newcomer, Miriam Jordan, does well as the inevitable girl. 



A Dramatic Expo-re of 



. 



1 



Presents 



TISfi 



to TALK 



WITH 



Erne Linden 
"pneV Pox 

9TON CHURCHILL ( 



~ 



UiS CALHERN 

EDWARD ARNOLD 

TULLY MARSHALL 



A Scarlet City 
Unmasked . . . 
Lovers torn, asunder 

by the murder-lust 
of men who stopped 
at nothing- to gain 
their ends . . .Two 
young hearts pit- 
ted against ruth- 
less tyranny, 
in the picture 
that will 
THRILL 



you to 
the core! 



: 



»% 



.> 



Adapted from 
I the stage play 
"MERRY 
GO ROUND^ 

By George Sklar 
and Albert Maltx 



greeted by 
dwardl.Cah 



VtHv€7iA4iL ^PicJUvie& 



Carl Cavmmtv 
0*rc*irlrnf 



Strictly Personal 

Movie Classic's Intimate Sketches 
Of Who's Who In Hollywood 

By MARK DOWLING 



ti 









/ 



JEAN HARLOW: In mourning. But the 
Harlow career will continue. And here's news: 
the famous platinum locks will be dyed brown. 
So there'll be more contrast with her face. 
Writing a novel in her spare time and speaks 
in a slow deep voice. Uses no slang; a surprise, 
after her screen roles. Knows how to wear 
clothes that set off her personality. Address: 
Holmby Hills, where she's building a new house. 




RALPH MORGAN: Five feet eight. Weighs 
150. Distinguished-looking. Broadway actor 
who is fighting it out with the Barrymores as 
the Czar in " Rasputin." Mildly annoyed with 
Hollywood because he can't find a chess 
opponent. Likes to sing at parties. His wife, 
Grace Arnold, is an actress. So's their daughter, 
a chit of nineteen. Used to be a lawyer. Address: 
Hayvenhurst Drive, Hollywood. 



JOHNNY WEISSMULLER: Six feet three. 
Weighs 190. Another bachelor going begging. 
Says his greatest annoyance against Bobbe 
Arnst (the ex-wife) was that she thought him 
dumb. Says he's not the marrying type anyway. 
The figures that brought fame and fortune are 
hips, 42 inches; waist, 33; chest, 41. Now see 



how the boy-friend measures 
Hollywood Club. 



up 



! Address: 




DAVID MANNERS: Five feet ten. Weighs 
150. Knows how to order dinner in the best res- 
taurants, with that air headwaiters respect. 
Plays tennis and used to be cowboy, mill-hand, 
and lumberjack. The real name is Rauff de 
Ryther Daun Acklom, and there's an English 
county seat named after part of it. Lots of 
Family, but easy to get along with. Address: 
Tropical Avenue, Beverly Hills. 





CLARA BOW: Red hair as usual. Same color 
eyes, same figger, but no longer the It girl. 
Clara's conscious of the fact that she's a great 
dramatic actress. Why not? She gets $125,000 
for making "Call Her Savage!" But some- 
times cooks up a dinner for Rex Bell and a 
friend or two, with her own hands. House- 
wifey. Still believes in frankness. Most color- 
ful personality in the movies. Address: Fox Hills. 




MIRIAM HOPKINS: Blonde coquette with 
cuddly curves. She's writing a book, too. The 
situation with Austin Parker still puzzles every- 
one. They lunch; separate; divorce; and then 
have dinner together. La Hopkins has a 
Southern drawl and way of wearing clothes. 
Used to give swell parties, but now she's busy 
looking after that little girl she adopted in Chi- 
cago. Address: San Vicente Road, Brentwood. 



JAMES DUNN: Six feet. Weighs 157. Our 
most eligible bachelor. And the town's most- 
engaged lad too. Maybe the current romance 
with Maureen O'Sullivan is serious, but you 
can't tell with Jimmy. Insists — the rogue! — 
that he can't do his best acting unless he's in 
love. He once made $10,000 in ten weeks. Then 
lost it in ten minutes. Of course the gals like 
him! Address: Sunset Boulevard, Hollywood. 




■^Jf 



LEE TRACY: Five feet ten. Weighs 145. Not 
handsome, but a lad who Started the Town 
Talking. A producer sued him for delaying 
production. Lee admits liking a drink, but says 
he never lets it interfere with his work. Any- 
way he's in demand. Maybe he needs the 
influence of a Good Woman. Yes, girls, 
another bachelor. Address: them thar hills, 
where he's recuperating from a breakdown. 





MAE WEST: "Diamond Lil." What'll the club- 
women do about this lady who wrote and acted 
in the decade's naughtiest plays? When her 
jewels were stolen the other week Mae said it 
could never have happened in N'Yawk. She 
knows all the boys there! Strangely enough she 
seems old-fashioned in Hollywood. It's glam- 
our, not sex, that's the rage at the moment. 
A good sport. Address: Paramount Studios. 




ANN HARDING: Makes you think she's older 
than she is. Maybe because of her quiet charm, 
dignity, and the grande dame kind of worldli- 
ness. Insists she'd like to retire and take up 
some gentler profession, but never gets around 
to it. Hasn't been seen around town much, 
since divorcing Harry Bannister. Ann's our only 
exponent of sheer spiritual beauty. Address: 
Hollywood's highest hilltop. 



GENE RAYMOND: Five feet ten. Weighs 
157. Our only male platinum blonde, a distinc- 
tion that annoys him. Has a sense of humor and 
a way of giving a girl large smacking kisses on 
the least provocation. In public. But the boy's 
name hasn't been up for a serious romance yet. 
What's the matter, you Hollywood Garbos? 
His real name is Raymond Guion and his 
address: Marathon Street, Hollywood. 




BOOTS MALLORY: A toast to the Lucky 
Girl of the month! An unknown, she no sooner 
reached town than she was given the lead in 
"Walking Down Broadway," with Jimmy Dunn. 
But the gal can take it, and now you'll see her 
often. Ash-blonde hair and gray-blue eyes. 
Likes a quiet life — but so do all ex-Follies 
girls, it seems. Drives a second-hand Ford. 
Don't we all? Address: Fox Hills. 




10 




Our Hollywood 

EIGHBORS 



GOINGS-ON AMONG THE PLAYERS 



B 



STACY KENT 



HOLD everything, folks, it won't be long now until you 
will be seeing "Rasputin," the epic of epics, present- 
ing three Barrymores acting for all they're worth. M-G-M, 
who produced the picture, has aged a good many years 
during the ordeal, too. Three Barrymores in one show 
proved to be about as congenial as three bears with sore 
eyes. Oh, they love each other away from the studio, but 
family ties didn't mean a durned thing when it came to 
stealing scenes from each 
other. 

But it's all over now. Ethel, 
the queen, has returned to 
New York and the stage. She 
"snuk" out of Hollywood 
without telling a soul (not 
even the publicity depart- 
ment). Thus, she avoided in- 
terviewers and press photog- 
raphers. John and Lionel are 
combing the Russian atmos- 
phere out of their hair, and 
preparing for other roles. 
Months have been spent, with 
two directors worn down to 
the warp and woof in making 
it. And a good many more 
hundreds of thousands than 
M-G-M intended to spend 
have gone into the production. 

Tragically enough, now that 
the film is completed, whispers 
emanating from the studio say 
that Ralph Morgan, as the 
Czar, walks off with the pic- 
ture. So don't mention "Ras- 
putin" to a Barrymore. That's 
a fighting word. 



BEFORE leaving the Barry- 
mores to wend their three 




respective ways in peace, one 

story about Ethel simply must 

be told. Her comments have 

enlivened many social affairs 

during the past summer and 

fall. These comments, in fact, have been the only things 

worth remembering about many a party. Hollywood, 

which loves devastating people, hated to see her go. 

Queen Kthel was seated next to a rather tactless young 
man at a Beverly Hills dinner party. 

The youth, for some reason or other, insisted on telling 
her that he thought Lionel was a "ham" actor. 

Ethel exploded. 

"Why you insufferable bore, you half-wit, you nin- 
compoop, you badly dressed young man!!" 



I'hufc 



June Vlasck first popped into the picture in 1932 in 

"Chandu, the Magician" — and now it looks as if she's 

heading for some hig hreaks right through 1933. 

She's a local Hollywood product, by the way 



CHARLES (still Buddy to you) Rogers is paying a visit 
to Hollywood after making good in the big city w 7 ith 
his orchestra. Somehow he seems a changed lad. He 
doesn't work so hard at being boyishly naive for one 
thing. He even looks different, and he has added on 
twenty pounds in weight. Our Buddy now tips the scales 
at 1 80 — enough to be a good halfback at any college. 
He doesn't think Hollywood has changed much in the 

last year. He attended the 
opening Mayfair ball of the 
winter season, and after look- 
ing over the crowd decided it 
was like any Mayfair party of 
the past. 

"Excepting, of course," he 
added, hastily, "there is a 
little change in husbands and 
wives." 

Buddy has been taking tests 
out at M-G-M, and he may 
return to the leaping shadows. 
Not as a Peter Pan boy, but as 
a mature leading man in heavy 
dramatic roles. It's hard to 
believe, but Buddy is getting 
on toward that thirty mile- 
stone. 



DEPRESSION may have 
played Hail Columbia 
with most things, but it didn't 
look like hard times at the 
first Mayfair party this year. 
Five hundred high moguls of 
filmland forked over the cus- 
tomary ten bucks per each, 
and made refined whoopee 
until dawn. 

Fredric March is the new 
president of the club, and 
Norma Shearer is the first 
vice-president. It does seem 
like a nice executive board, 
doesn't it ? 

I he big event of the evening 
\\;is a miniature SHOW storm falling on the dancers' heads. 
Maybe it seemed like a good idea, but the bogus snow 
stuck in the marcel waves of both men and women guests. 

(Juite a bit of muttering was to he heard. I he muttering 

grew louder as some 'stecn hotel workers had to sweep 

several bushels of snow from the floor before the dancing 

could continue. Ir was the biggest prop snow scene since 

'"Way Down East." Alan Hale, the official Mayfair cut- 
up for years and years, got a laugh our ol it. He turned 

I Continued on page J 2) 



11 



L<ordelia JDiddle ~tat/a^ . . .Liordelia Diddle 
fie uea^d oyer, Her skin lovely now as then 
— flow does she care lor it : 



m^ie 




CORDELIA BIDDLE IN 1923, 

when she was -pronounced one of 
the twelve most beautiful women 
in America. She cared for her 
skin with Pond's Two Creams. 



Mrs. T. Markoe Robertson, 



the former Miss Cordelia Biddle, is the mother of 

two boys in their teens. She tells frankly just 

how she keeps her youthful freshness. 



CORDELIA BIDDLE TODAY, 

lovelier than ever! She says, 
"Pond's Two Creams com- 
pletely care for my skin." 



I HAVE never stopped being inter- 
ested in doing things! I swim and 
ride horseback and dash around as much 
today as when I first came out. 

"And I have never lost interest in car- 
ing for my skin! I keep it fresh and vital 
by the same rules I followed years ago." 

As she tells you gaily about her way of 
life — her way of caring for her skin, 
Cordelia Biddle looks amazingly like the 
very same lovely young thing who talked 
about keeping the skin "exquisite" with 
Pond's just nine years ago. 




As you look at that clear transparent 
skin, you simply refuse to believe that 
Cordelia Biddle spends most of her life in 
the open. 

"My rules boil down to two things," 
she says. "Keeping my skin clean . . . 
And protecting it. 

"Pond's Cold Cream takes care of the 
first rule. It is deliriously light. Goes 
right into the skin, and takes out every 
speck of dirt. 

"You can't swim and golf and skate 
and ride horseback, season in and season 
out, and keep a nice skin unless you use 
some protective. 

"That's where Pond's Vanishing Cream 
comes in. I don't know what's in it. But 
I do know my skin has never got rough 
and out-of-doors v." 



For a Simple Home Beauty Treatment . . . 

Here's the famous Pond's way that is used by 
hundreds of women: First, cleansing — Pond's 
Cold Cream followed by the soft, absorbent 
Pond's Tissues; then stimulating — Pond's Skin 
Freshener patted on briskly; then protection 
and finishing — Pond's Vanishing Cream — and 
to it your powder clings for hours! 

Send 10? (to cover 
cost of postage and packing) for 
choice of FREE samples. 

Pond's Extract Company, Dept. A 
126 Hudson Street New York City 

Please send nic (check choice): 

Pond's New Face Powder in attractive glass jar. Li>;ht 
Cream □, Rose Cream □, Brunette □, Naturelle D. 
OR fund's Two Creams, Tissues and Freshener □. 



NamC- 
Stred 




City - 



.State- 



Copyright, 1932. I'ond' s lixtracl Company 



Tunc in on Pond's, Fridays, 9:30 P. M., E. S. T. Music rhythmed for actual dancing . . . Leo Keisman and his Orchestra — WEAF and NBC Network 



12 



THE TABLOID MAGAZINE OF THE SCREEN 




cv 



_, mem jm i m 

r&n= 




By 

GLADYS 

HALL 




As the curtain falls on 
1932/ everybody is 
wondering what the 
year's Greatest Hero 
— namely, the two- 
fisted Mr. Gable — in- 
tends to do next year. 
Here is the answer, 
in Clark's own words. 
Moreover, he's the 
kind who'll live up to 
his intentions! 



Clark Gables 



n 



ew 



y 



ear 



R 



eso 



luti 



ons 



CLARK GABLE came into his dressing-room at the 
noon hour, dusty from the set of "Red Dust." 
His shirt was open at the collar. His trousers 
were not Bond Street. His hair was ruffled. He 
looked healthy and happy and hard-working and still 
completely unchanged after the fires of fame and fortune 
that would have burned a lesser man to a papery cinder. 
Honest to goodness, moviegoers, he is a swell guy. 
I mean it. Unaffected, regular, genuine, one of the realest 
human beings you could ever meet, anywhere, under any 
circumstances. 

Mi laughed as we shook hands. "I'm glad to see you," 
he said, "hut what are we going to talk about this time? 
In the past year or two we've discussed everything under 
the sun — love and acting and Hollywood and marriage 
and divorce and pasts and futures, and men, women and 



children. We've gone over the whole fabric of life, thn ad 
by thread. You know that I am happily married, fond of 
home life and contract bridge, dogs and motoring and polo 
and books. You know that / know I'm an ugly mug who 
happened to get the breaks and am grateful for them. 
What now?" 

I said, "Now we're going to talk about New Year 
resolutions — yours." 

Clark laughed again, that hearty, masculine laugh of 
his. He said, "I'm afraid I haven't any. I don't even 
know that I can make any. 

"You see, I'm totally and completely happy in everj 

way that it's possible lor a man to be happy. I wouldn't 

change one thing in my lite worth mentioning, il I could. 

I lure is absolutclv nothing I want that I haven't got. 

{Continued on page §8) 

13 




y 



Gi 



r 



Directly above, 
Garbo, herself, in 
a soulful mood — 
and at the upper 
left, Gwili Andre, 
RKO's Danish 
"discovery," in a 
similar mood. The 
portrait of Miss 
Andre was not 
taken for purposes 
of comparison, but 
note the likeness 





Like Garbo 



That's a startling statement — but 
this article, you will read how a 
accomplished the feat — easily, 
graphed Greta many times, believes 
LOOK like Garbo, even if she 
And red-headed Peggy Shannon, 
Claire Windsor pose 

By JACK 



ATONE can look like Garbo— that is, 
like Garbo as you know her on the 
screen. There is, you see, no such 
person as that Garbo. She has been 
manufactured out of the stuff dreams are made 
of. And what can be manufactured once can be 
duplicated again and again. 

"Garbo, herself, doesn't in the slightest re- 
semble the screen creation. You have but to 
glance at informal pictures taken of her in un- 
guarded moments to see how differently she 
looks. The contrast is amazing. She is definitely 
two persons. It seems incredible that the real 
Garbo could ever become the screen Garbo. A 
few characteristic tricks of make-up, clothes, 
deft lighting and photography and her whole 
appearance changes. It is a remarkable illu- 
sion. 

The authority for this startling statement is an 
actress whose name is nearly as well-known as 
the Swedish star's. Unfortunately, she must re- 
main anonymous, due to the possible complica- 
tions of studio politics which so definitely rule 
Hollywood. 

The occasion was a small, informal party at 
her home. Certain of her guests derided her 
theory that anyone could resemble Garbo. While 
it was freely admitted that the Garbo of to-day 
is a far cry from the rotund, freckled-faced, wide- 
eyed, indifferently dressed girl who first came to 
American films, it was argued that some simi- 
larity of features must exist. Contour of face, 
for example. 

"Nonsense," said their hostess. "The con- 
tour of my face is not in the slightest like 
Garbo's. Hers is squarerthan mine, her cheek- 
bones higher, her chin shorter, her eyebrows more 
arched. All of which can be sufficiently altered 
by make-up and hairdress. Give me ten minutes 
and I'll demonstrate it." 

It must be reported that fifteen minutes 
elapsed before a figure dressed in tweeds and 



Left center, Claire 
Windsor, not at all 
the Garbo type, il- 
lu st rates what 
make-up can do to 
give her the same 
features as Greta, 
herself, above. At 
the bottom, left, is 
Lili Damita, who 
can look like the 
Garbo you see be- 
low 



14 



c 



a n 



L 



oo 




no more startling than true. In 
rival star, totally unlike Garbo, 
George Hurrell, who has photo- 
any girl with normal features can 
can't BE like the Swedish star, 
brunette Rita La Roy and blonde 
for him to prove it! 

Grant 

a slouch hat appeared in the doorway. "Ay 
tank you have been discussing me," said a deep 
voice. 

The illusion was breath-taking. Some guests 
later acknowledged that they believed momen- 
tarily that the real Garbo had wandered on to 
the scene. 

Close examination revealed the transforma- 
tion to have been effected comparatively simply. 
The hair had been combed down in a severe long 
bob, reaching nearly to the shoulders. Untrim- 
med false eyelashes had been donned in imita- 
tion of Garbo's familiar long lashes. Natural 
eyebrows had been penciled out and new, more 
highly arched ones drawn in. The eyes were not 
shaded by grease-stick other than for one long, 
strong, black line above the lids. This tends to 
give the eyes a deep-set appearance and is al- 
ways used by Garbo in screen make-up. It is the 
most valuable trick Garbo imitators can adopt. 

There was no rouge on the cheeks, but a little 
dark powder under the cheek-bones made them 
more pronounced. The face was shortened and 
made squarer by application of greasepaint 
under the chin. The style of hairdress likewise 
served to square the face. The lips were easiest 
of all — a long thin line above and a full lower lip, 
drawn down at the corners. 

Regardless of the amazing success of this ex- 
periment in looking like Garbo, we were not yet 
thoroughly convinced. The stunt might be ac- 
complished by one actress skilled in the use of 
make-up, but even by following her formula, 
could anyone do it? Could you or you or you 
among our feminine readers? 

Her Photographer Should Know 

WE resolved to discuss the matter more 
fully with George Hurrell, one of Holly- 
Wood's finest camera artists. If anyone can de- 
bate the question, it is Hurrell, who, for several 
years past, has been portrait-cameraman at 




Rita La Roy, upper 
right, proves that 
even a brunette 
can look like the 
Garbo above — 
with a little make- 
up emphasis on 
lips, eyelashes and 
cheek-bones. 
Garbo imitators 
should also know 
how to shade the 
eyes just a bit 




Right center, 
Katharine Hep- 
burn, new star, 
makes many think 
of Garbo, above — 
without even try- 
ing. Red-headed 
Peggy Shannon, 
lower right, 
achieves the same 
effect as Garbo be- 
low, by a few 
make-up changes 




15 



- 




Sometimes, Garbo must ponder 
on the changes she has wrought 
in the appearance of women 
the world over — just by being 
Garbo 



.,->" 



Metro-Goldwyn-Mayer and for whom 
Garbo has posed many times for pictures. 

It was Hurrell, if you remember, who 
first discovered Norma Shearer's allure- 
ment. At least, Hurrell was the first to 
capture that allurement and reproduce 
it in portraiture. Following the publica- 
tion of his photographic studies, Norma 
emerged from her screen chrysalis to be- 
come as glamourous a figure as Holly- 
wood boasts to-day. Her "Divorcee" 
was a far cry from the shop-girls and 
stenographers she once played. 

Having been instrumental in one 
metamorphosis, Hurrell seemed well 
qualified to pass upon the still argumen- 
tative theory our friend had advanced. 
Accordingly, we repeated her remarks to 
him. 

"Can anyone look like Garbo?" Hur- 
rell mused. "Yes, I believe that anyone 
with normal features can be made to 
resemble Garbo. She could not be Garbo, 
but a passable surface resemblance could 
be simulated. 

"There is, of course, only one Garbo 
and, regardless of imitations, there will 
remain only one Garbo. Even her few 
bitter critics — and they are extremely 
few in the ranks of her millions of ad- 
mirers — must admit the woman's ex- 
quisite artistry. Make-up, lighting and 
photography are merely incidental to ap- 
pearance. Garbo's charm is more fun- 
damental than that. It comes from 
something within her — something that 
only she has. 



At the 
near right, 
Lili Da- 
mita as her 



What Makes Garbo Individual 

" "EVERYTHING she does is typically Garbo-esque. 
L-j She works with a characterization until she is the 

woman she portrays. Then every motion, every thought, 

every gesture is the character. She does not need to act. 

She allows her mood to dictate the proper feeling. 

"Taking portraits of Garbo is unlike photographing 

anyone else with whom I have ever worked. There is no 

asking her to raise 
her head or lower it. 
She simply strikes a 
pose and holds still 
until you adjust 
lights and lens and 
click the shutter. She 
poses herself. You 
merely take the pic- 
ture. She is like this 
in all the things she 
does. Always domi- 




He Ought to Know 



George Hurrell, portrait photographer, 
who has made countless portraits of 
Garbo, says, "I believe that anyone 
with normal features can be made to 
resemble Garbo. She could not be 
Garbo, but a passable surface re- 
semblance could be simulated. A 
large number of American women 
openly ape her, peering through half- 
closed eyes the while." 



nant before the camera. 
"Lighting Garbo for best 
results is both simple and 
complex. Bright lights 
above her head are impera- 
tive. They produce inter- 
esting shadows on her face. 
The complexity comes in 
(Cotitinued on page 63) 



16 




Walter 
Huston 

Actor 
NoMoviegoer 
Really Knows 

He is more than an actor — he lives his 
roles. It doesn't matter what the role 
is — he becomes that character, and 
there's not even a trace 
left of W. Huston, him- 
self. That's why people 
can t figure out what he 



must be like in real life. 

But in this interview he 

ends the mystery! 



By 
FAITH SERVICE 




WALTER HUS- 
TON said to me, 
smiling (he's al- 
m o s t always 
smiling), "I seem to be the 
man nobody knows. Or, 
rather, every individual 
takes me for a different 
man. I get letters, for instance, from certain groups of 
people who say that they would never want to know or 
even to meet up with anyone so brutal as the man in 
'Kongo,' or so hypocritical and thoroughly nasty and 
lustful as the poor devil in 'Rain,' and so on. Others 
write me that they know I would make the perfect hus- 
band and father and friend, because of 'Abraham Lincoln' 
and 'American Madness.' 

"Others, yet again, write that such a poor, besotted 
weakling as I was in 'The Wet Parade' must, indeed, he a 
burden to his fellow-men. Still others write letters that 
are large question marks. They are confused about me, 
can't seem to place me, to figure me out. They ask, 
'What kind of man arc you, anyway? Black or white? 
Beast or human ? Saint or devil ?' 



Huston's Self - Portrait 

"I seem to be the man nobody knows. Or, rather, 
every individual takes me for a different man. 
People ask, 'What kind of man are you, anyway? 
Beast or human? Saint or devil?' 

"I suppose I'm most like the chap in 'American 
Madness,' though I might not be quite the humani- 
tarian he was. 

"He didn't demand too much of life. Neither do 
I. He believed in people and expected the best of 
them. So do I. He didn't worry about things he 
couldn't help. Neither do I. He was roused to 
action when there was vital need — and I would be 
likewise. 

"The mainspring of my philosophy, if I have one, 
is never to get off my course. It isn't very difficult. 

"The second most important part of my scheme 
of living is my belief that we should live in the 
present moment, this day, this hour, now. 

"This is the satisfying life to me — to be with the 
woman with whom I can plan and build a life of 
grace and charm and gentleness, in a home of our 
own, among the hills and lakes." 



"Recently, an oculist 
here in Los Angeles told my 
son that he had assured his 
wife I was really a very 
kind man — kind to animals, 
fond of children, a home- 
builder and a hard worker. 
I gathered that his wife 
needed reassurance, espe- 
cially when she heard that 
I had made a visit to her 
husband's office and might 
make others. This man 
even went on to convince 
my son that I was really an 
awfully decent sort — " 
It is true, I believe, that 
few people know what Walter Huston is really like. He 
has played such a wide variety of roles, from the gentle 
Lincoln to the bitter, bestial Dcadlegs Flint in Kongo, 
that the man, himself, seems to fall somewhere between 
them all. And because in each part he plays, he merges 
with such complete identification into the character, ii u 
difficult to imagine when seeing 'Kongo' that you will not 
meet that scarred soul and crippled body in Mr. Huston, 
himself; or, when you see 'American Madness,' that he 
will nor present you with a hank or two when you meet 
him in real life. 

The public seems to know most of the players pretty 
well. They are able, for instance, to estimate Clark ( iable 
for the virile, he-man sort of chap he is, incapable of 
mtinued on page < 



17 







St 



ars 



Wh 



o 



for 1932 In 



The titles of "best actor" and "best actress" aren't the 



'ds h< 



'd of h< 



th< 



Constance Bennett gets the biggest 
salary of any woman star — and it's dis- 
puted whether she's the most 
temperamental or the most 
placid! 



Gloria Swanson 
holds the record 
for most marriages 
— having been wed 
five times (count- 
ing twice for Mi- 
chael Farmer) 



RIGHT now the 
subject that 
interests the 
<. stars most is 
not contracts, divorces, 
or other gossip. What 
they are talking about 
is record-holders, and 
all over town you hear 
players in and out of 
make-up debating as to which star does 
something — anything — better, more 
often, or more persistently than any 
others. The subject may have been 
brought up by the recent Marathon 
Dance held at Santa Monica, for so 
many stars watched the tired couples 
dragging 'round and 'round the floor for 
a money prize and the title of the 
strongest dancers that they acquired 
a little of the contest spirit themselves. 
Anyone who thinks the conversations 
are calm, or that the titles are awarded 
without argument would be wrong, 
because the honors — all the way from the best 
polo-player to the male star who is most adept at 
shooting craps — are hotly contested. Apparently, 
movie stars cling to their records just as eagerly 
as flag-pole sitters and hog-callers, and the only 
ones allowed to stand without a dissenting voice 
are those nominated by the Academy of Motion 
Picture Arts and Sciences. Last year, as every- 
one knows, the prizes for the best acting were 
awarded to Marie Dressier and Lionel Barrymore, 



U 



jealously guards her record of having the smallest waist, 
have the longest engagement. Garbo wins as being 
wounded. And maybe you II be surprised 



By MARK 

and all Hollywood agrees that they were richly 
deserved. 

The most headlines record was also easily decided, 
for since the tragic death of her husband, Paul Bern, 
Jean Harlow has been mentioned in heavy black 
print in every newspaper in the country, through no 
efforts of her own. Charlie Chaplin, whose trip 
around the world was worth space to every news 
association, comes a close second, and Greta Garbo 
is third. Most of the columns about the mysterious 
Swede, by the way, were devoted to the people she 
dodged on her way to Sweden. 

Chaplin the Richest Star 

THE richest star was nom- 
inated by the County 
Assessor, when he decided 
that Charlie Chaplin should 
be taxed for just $7,687,570 




Keystone 



And guess who's 
the most intellec- 
tual! Edward 
G. ("Little Cae- 
sar") Robinson, 
above. Mary 
Pickford enter- 
tains the most 
royalty, is the 
most supersti- 
tious and one of 
the wealthiest 




Hold Records 



Holl 



ywoo 



d 



only ones the stars fight about. Bette Davis, for instance, 
Jeanette MacDonald and Alice White are 'duelling to 
the least quoted, and Tom Mix as being the most 
to learn who's the most intellectual! 

DOWLING 



worth of stocks and bonds. (Strangely enough, this was a 
title Charlie didn't seem to want at all.) Mary Pickford, 
even though she hasn't been making many pictures of 
late, comes second, and her husband Douglas Fairbanks, 
is third, making them the richest family of the screen. 

The shortest marriage record was not so hotly contested 
as you might suppose, since everyone agreed that Greta 
Nissen and Weldon Heyburn, who told it to a judge just 
the other day, won the title hands down. They stuck it 
out together just six months. This contrasts with the 
longest marriage in Hollywood owned by George Arliss, 
who has been wed to the same wife for some thirty-three 
years. Next come the Gleasons, Jimmie and Lucille, who 
celebrated their Silver Anniversary a year ago. 

The most marriages is some- 
thing else again, and we find 
Gloria Swanson (who has heard 
the wedding bells four times) 
running neck and neck with 






Janet Gaynor is 
this year's win- 
ner as the most 
popular at the 
bo x-of f ice — a 
title you gave her, 
yourself. And 
Johnny ("Tar- 
zan") Weiss- 
mull e r (jets 
the pri;e for 
best physique. 
Also, some 
say he is the 
least sophisti- 
cated star 

A mere male, 
James Dunn 
(left), holds the 
record for most 
"engagements." 
Most have been 
only rumored, 
but that's not 
Jimmy's fault 



■j 



th 

M 
or 



is. Before M 
oily O'Day a 
two. 



Lilyan Tashman is still hailed as 
"the best-dressed star," though some 
of the other girls claim she just 
changes her clothes oftener than 
they do 



John Gilbert, who said "I do" 
for the fourth time when he 
married Virginia Bruce. Maybe 
Gloria deserves first prize all by 
herself, however, since she mar- 
ried her last husband, Michael 
Farmer, a second time to be 
sure it was legal. 

The most engaged player in 
films is not so easy to decide as 
it would have been back in the 
days when Clara Bow was 
announcing to the world her 
intention to wed a different man 
every half-hour or so. Joan 
Crawford would have come in 
for second honors before Doug- 
las Fairbanks, Jr., removed her 
from the competition. Now it 
seems that James Dunn, a mere 
male, is ahead of the field. His 
latest flame is Maureen O'Sulli- 
van, though that may have 
gone cold by the time you read 
aureen, Jimmy went places with 
nd June Knight, to mention one 



Engaged the Longest 

TI1K longest engagement is easily set tied, since 
Jeanette MacDonald and Robert Ritchie 
have been "thai way" for five years without 

visiting a minister — or ever admitting it it tin \ 

have. Runners-up are Alice White and Cj 

{Continual on page 64.) 

19 



You're In For Some 
New Kinds of Chills ! 



Movie producers have been asking what you want 
them to do. Scare us! seems to be the answer. 
They'll do their best in 1933! In one thriller a giant 
ape gets loose in New York. In another, a mad doc- 
tor develops animals into humans. In a third, a mum- 
my rises from the tomb. In a fourth, a maniac has a 
museum of corpses. Horror pictures'? You haven't 
seen anything yet! 



SHRIEKS and 
screams fill the air. 
Grotesque and 
gruesome mon- 
sters parade the Boule- 
vard. You wouldn't know 
the old place. They call 
it Horror-wood these days. 

"Scare us," said the 
great American public 
when asked to express a 
preference in motion pic- 
ture entertainment re- 
cently. So the studios are 

vying to out-frighten one another. They are calling into 
play all of the tricks of the trade, the illusions created by 
greasepaint and camera, and a new era of awe holds sway. 
And, as is always the case in cycles, one good scare de- 
serves another. 

If you thrilled at "Frankenstein," "Dr. Jekyll and Mr. 
Hvde," "Dracula," "The Most Dangerous Game," "The 
Old Dark House," " Doctor X," " Freaks " and the rest of 
their ilk, just wait. You ain't seen nothing yet. 

Over at Radio, they are putting the finishing touches on 
a super-thriller titled " King Kong." At Universal, a 

20 




If coffee doesn't keep you awake, try 
some of the new movies. They ought 
to do the trick! Across the center, you 
see the monster ape in "King Kong" 
about to get Fay Wray in his clutches. 
Upper left, Bmmwell Fletcher heads 
for insanity as he sees "The Mummy" 
come to life and reach for the scroll 
that tells how to bring back the dead. 
Left, an animal that has been changed 
into a man reverts to blood-lust in 

mummy has come to " The Island of Lost Souls " 

life in "The Mum- 
my." At Warners-First National, terror runs rampant in 
"The Wax Museum." At Paramount, monkeys become 
men on "The Island of Lost Souls." At Metro-Goldwyn- 
Mayer, Oriental mysticism and torture lurk behind "The 
Mask of Fu Manchu." At Fox, a dead man has been re- 
turned to life and given "Six Hours to Live." 

Of course, all these sets are barred and bolted. Guards 
enforce the " No Visitors" rule, even applying it to visiting 
newspapermen. Still, there are ways and means — par- 




(Lionel Atwill) visits a 
morgue to snatch a 
corpse that he may cov- 
er with wax to repre- 
sent a famous person in 
"The Wax Museum." 
Left, Myrna Loy looks 
on at the torture of 
Charles Starrett in 
"The Mask of Fu 
Manchu" 



ticularly, if one is not averse 
to peeking through key- 
holes. We are not admit- 
ting how we saw what we 
did see. But if you want 
to look, too, come along. 

How One Big Thriller 
Began 

A GREATER amount of" 
secrecy has surround- 
ed the production of" King 

tu I tumult* .. Ml I • 

Kong than any other pic- 
ture in I lollywood histOl J 
More than two years ago, there was 
talk thai Radio was to make a storj 
titled "Creation." Direct inquiry as t" 
the truth of the report brought veiled 
intimations that such might be the case. 
But no one would issue a definite m ate- 
meni about what was happening. 

{Continued on / 



21 



. 



Boots Mallory-SIic's 

a Star After One Picture! 




Her blonde hair, candid gray eyes, and 
perfect teeth make it easier to understand 
her ascent into the movie heavens, but they 
don't entirely explain how she became an 
actress overnight. 

"I never had any lines to speak," Boots 
says vaguely. "No, I didn't dance. And I 
didn't sing — alone," and the puzzled listener 
finally gets the idea that maybe she was a 
show-girl. 



B ( 



Where did she get the 
name of "Boots"? Her 
stepfather called her that 
"because Patricia was too 
dignified." But where.did 
she learn to act? Even 
Boots doesn't know the 
answer to that one! 



Phyft 



By 



ELISABETH GOLDBECK 



BOOTS MALLORY, of the 
early-marrying Mallorys of 
New Orleans, Louisiana, 
needs a lot of introducing. 
There's always the danger of confus- 
ing her with Poodles Hannaford or 
Peanuts Byron. And moreover, Zieg- 
feld beauties always get plenty of 
publicity, but even Boots' most 
enthusiastic boosters, when she was 
decorating "Hot-Cha" last Fall on the 
New York stage, never dreamed that 
within a year she'd be out in Holly- 
wood, playing the dramatic lead in a Von Stroheim picture. 
Miracles like that require a little explaining. 

Boots' screen career was accomplished with the same 
effortless efficiency that has been applied to all the big 
moments of her life. Up to the time Winfield Sheehan saw 
her screen test, Boots had taken no part in the conversa- 
tion in any of her theatrical engagements. She hadn't 
even danced. She was strictly a visual treat for the visiting 
businessmen. And what a treat! Miss Mallory looks like 
a discreet blend of several familiar ingenues, coming near- 
est to being a cross between Mary Brian and Madge 
Evans — which is no mean feat. 



She's Just Naturally Baffling 

OOTS has a most baffling personality. 
There's no way of telling whether she's 
hypnotized or unusually smart, shy or 
supremely self-possessed. She looks and 
talks like an ingenue, as is her privilege at 
the tender age of twenty, but somehow she 
doesn't quite use the familiar baby-star 
routine. She's either very cagy, or very un- 
certain of herself, and your guess is as good 
as mine. 

"It must be youth," 
you finally sigh, and 
give up trying to pigeon- 
hole a personality that 
apparently hasn't jelled 
into any of the accepted 
molds. 

When Boots blandly 
announces that she has 
been married for four 
years, you feel a distinct 
shock. But she is a 
child-bride by inherit- 
ance, and takes it very 
calmly. Her mother 
started marrying at 16, 
and had one child by 
her first husband and 
three by her third, 
which makes her the 
mother of four at the 
ripe old age of thirty- 
six. 

Boots' sister ran 
away from boarding-school and married when she was 
seventeen. And her grandmother started marrying so 
early in life that by the time Boots took her first husband 
four years ago, her grandma was just wedding her second 
husband. It was almost a double wedding. 

"I think all Southern girls marry young," said Boots 
tranquilly. "They mature so early. I was the only child 
of my mother's first marriage. Father and Mother were 
divorced — it was a runaway marriage based on an infatua- 
tion that didn't last long — and later Father died. I didn't 
know him at all. 

{Continued on page 57) 



A bride at 16, a star at 20— that's 
the record, to date, of this baffling 
blonde from New Orleans. Fox 
looked upon her and said, "Just the 
Boots for Walking Down Broad- 
way. And now any girl would like 
to be in the boots of this Ziegfeld 
beauty, who never really acted" 



before and almost turned down a 

contract! The boys in the gallery will 

cheer for Miss Mallory! 



11 



Movie 
Classic 



Tabloid 



News 
Section 



THE NEWSREEL OF THE NEWSSTANDS 




When Kathleen Burke, Chicago beauty, won a 
big movie chance as the Panther Woman in 
"Island of Lost Souls," Glen A. Hardin followed her 
to Hollywood — just to make sure he wouldn't lose 
her to some movie Romeo. Now they're marrying 



I 



23 



♦ MOVIE CLASSIC TABLOID NEWS SECTION ♦ 




Belle Bennett, Famous 
Screen "Mother/ 7 Dies 
At Age Of Forty-One 

Actress, Whose Own Life Was More Dramatic — And Perhaps 
Even More Tragic — Than Her Memorable Role of "Stella Dallas/' 
Returns To Hollywood To Be With Friends During Her Last Days 

By EVELYN DERR 



life, when she died 
in the middle of 
it, at forty-one. 
Born in Dublin, 
she knew the foot- 
lights at the early 
age of two, when 
she was a "prop" 
baby, who took 
poses for "living 
statuary" in her 
father's tent- 
show. She left 
school to marry 
William Howard 



Above, Belle Bennett as she 
appeared in one of her last 
talkies, "Recaptured Love." 
But most people remember 
her as Stella Dallas 

BELLE BENNETT went 
home to Hollywood to 
die. She never said so. She 
never mentioned the name 
of the dread disease that 
had ravaged the beauty 
that all the world loved in 
"Stella Dallas." But when 
she saw that she was wag- 
ing an unsuccessful fight 
in New York, she had her- 
self carried aboard an air- 
plane and taken back to the 
place that had brought her 
fame and fortune, sorrow 
and despair. 

Mary Pickford met the 
'plane when it landed and took Belle 
in her own car to the hospital. There, 
ensconced in luxury, surrounded with 
flowers and visited daily by Mary, 
Ruth Roland and her other friends, 
the woman whose mother roles on 
the screen were unimportant along- 
side the mother role she played in real 
life passed away quietly, almost hap- 
pily. 

Belle Bennett had had a strange 




Left, Belle Bennett in one of 
her early silent pictures, "East 
Lynne." Above, as the gay, 
young girl of the early scenes 
of "Stella Dallas" 



Macy at the amazing age of twelve. 
And at fourteen she had a son, 
Teddy. 

This was the boy, handsome and 
gifted, whom Hollywood always knew 
as Belle Bennett's brother. Belle felt, 
as so many actresses felt in those 
days, that if the public thought of her 
as a mother, she could no longer play 
young roles. But her true mother- 
hood came to the fore when, on the 



day that " Stella Dallas," her greatest 
picture, was scheduled to start, Teddy 
died suddenly from blood poisoning 
from an infected finger. And as he 
died, he called her "Mother." The 
next day, all Hollywood wept with 
Belle, as she cried broken-heartedly, 
"If I had only let him call me 
'Mother'! He hated to pretend I was 
his sister." 

Though Teddy was the only real 
son of Belle Bennett, an adopted son, 
William, was with her, along with her 
second husband, Fred Windermere, 
when she died. In her short lifetime, 
her warm mother heart led her to 
adopt or to care for many un- 
wanted babies, whom she fed 
and schooled and started out 
in life. One report puts the 
number of her foster-chil- 
dren at twenty-seven ! 

Three years ago, Belle 
was examined by doctors 
and told that she must 
undergo an operation. She 
was in the midst of money 
worries at the time, and, in 
addition, had a hatred of 
surgery, which was contrary 
to her religious beliefs. She 
determined to fight off her 
trouble by her own strength of 
This strength of will was amaz- 
She opened a quaint restaurant 
near Hollywood, called "Grandma's 
Place" and featuring old-fashioned 
cooking. But this venture failed. Be- 
tween attacks of pain, she toured the 
country on personal appearance tours, 
and worked desperately, refusing to 
recognize her growing weakness. 
When, at last, there was no denying 
her state, it was too late for surgery. 
Many a young actor and actress in 
the movies owe a debt to Belle Ben- 
nett's memory. William Bakewell 
was one of her proteges whom she in- 
terested herself in starting on the 
screen. 



will 
ing 



24 



♦ THE NEWSREEL OF THE NEWSSTANDS . 



Mae West Is Robbed 
Of Famous Diamonds 
In Daring Hold-up 

Nervous Racketeer Makes Stage Actress, Who Won Fame 
As "Diamond Lil" And Is Now In Movies, Hand Over 
Jewels — Helene Costello Also Victim of Jewel Thieves 

By DOROTHY DONNELL 



TN "Night After Night," Mae West 
J. — imported from Broadway, where 
she was famous for her role of 
"Diamond Lil" — played the associate 
of racketeers and robbers. Now she 
is wondering if there might not have 
been some real racketeer playing 
"extra" in the picture, who noticed 
her habit of wearing a great deal of 
valuable jewlery. 

Though Mae has been a conspicu- 
ous figure on Broadway and in New 
York theatrical life for several years, 
this is the first time she has ever been 
robbed. "And he must have been an 
amateur," Mae says. "He was so 
nervous that I didn't wait a moment 
before handing over the jewels, be- 
cause I thought if I tried to talk him 
out of it, he would probably hit me 
over the head and maybe mar my 
face." (The actress' first thought!) 

"Toss out that poke and those 
rocks!" the robber demanded huskily, 
as Mae sat in her parked limousine. 
The "poke" contained thirty-four 
hundred dollars, which Mae had 
withdrawn from the bank the previ- 
ous dav and was planning to telegraph 
East that same night. The "rocks" 
consisted of a spectacular diamond 
necklace that hung almost to her 
waisr, a diamond bracelet and a ring. 
These jewels, together with a huge 
brooch of the same dazzling stones, 
a wrist-watch and another ring, were 
familiar to studio employees, as Mae 
had often worn them to work and had 
used them as part of her costume in 
"Night After Night." 

Valued at sixteen thousand dollars, 
the sparklers that were stolen carried 
no insurance. For several years Mae 
kept them in a safe deposit vault in 
Chicago; but on her way to the 
Coast, she stopped ofF and took our 
her jewels, thinking she was going to 
a safe small town. She was negotiat- 
ing for insurance on them when the 



Upper right, 
Mae West as the 
speakeasy hostess 
in "Night After 
Night." In this role, 
she wore the stolen 
necklace (right) 






Someone famih 
iar with Mae's 
habits robbed 
her. Besides the 
jewels, she lost 
$3,400 she had 
just withdrawn 



robbery occurred, but had none yet. 

Oddly enough, though Mae West 
is the author of many plays about 
Broadway night-life, she is seldom a 
part of the social scene, herself. She 
works almost every evening on some 
play, novel or scenario (she has 
written the script of her next picture. 
"HonkyTonk," herself), and appears 
in public places very little. And 
though jewel robberies are an old 
actress' gag, and are 
regarded suspiciously 
by reporters, there 
seems no doubt that 
this one was not a 
press-agent's inspira- 
tion, but a real and 
painful fact. 

Exact ly one week 
after Mae West was 
robbed, the home of 
Helene Costello was 

ransacked by three men 

wearing dark goggles as 
a disguise. "Do you 
know where Heaven 




\ lelene Costello'i home 
wai ransacked by three 

robbers, who took 
$35,000 in jewels 



is?" they asked the Filipino 
house boy who answered their 
ring. 

' Yes-y-y-yes !" trembled the 
boy. They tied him up with pic- 
ture wire and adhesive tape and ran- 
sacked Helene's dressing-room at 
their leisure, carrying away a twenty- 
one-carat diamond-and-plati- 
num bracelet, a necklace and 
lavaliere, valued at thirty- 
five thousand dollars. 

"They were especially de- 
signed in Paris," Helene 
says, "and are so unusual 
that the robbers will have a 
hard time disposing of them 
over here — or abroad either." 

Hollywood a small town? Non- 
sense! It has night life, jewel rob- 
beries, gangland threats, and even- 
thing. (P. S. Practically every star in 
town now has a guard — or is thinking 
of hiring one.) 

Nothing like a reign of terror pre- 
vails in the movie capital, but the 
stars are getting nervous about being 
out alone at night — or leaving their 
homes unguarded. Prom- 
inent picture people who 
have been robbed in 
recent months are such 
k now n pe rso n .1 ges .1 s 
Jeanette Mac! )onald,Zep- 
po Marx, Carmel M j ers, 
Mai 1. m Nixon, Constance 
I .ilin.n!ge and Josef von 
Steinberg. Several stars, 
like Marlene Dietrich, 
Ann I larding, Ruth Chat- 
terton, ( ieorge Bancroft, 
l.ita Grej Chaplin and 
Mai ion I). i\ ies, lu\ <• had 
scares. 



25 



♦ MOVIE CLASSIC TABLOID NEWS SECTION ♦ 



Newest Child "Find" Of Films 
Was Gassed With Bonus Army 

$ 





Right, mothers 
and children who 
were driven out of 
the B. E. F. camp. 
Dorothy Jean, not in 
this group, was in a 
hospital instead 

TWO hun- 
dred babies 
of assorted col- 
ors, shapes and 
sizes filled the 
anteroom of the 
Jack Hays "Baby 
Star" studio, 
while their 
mothers looked 
on proudly. The 
producer was 
searching for a 
two-year-old 
who spoke 
plainly and could 
be taught actual 
lines. 

"My name," 
sai d a small, 

chubby, blonde baby with ringlets, 
"is Dor-o-thy Jean Ham-il-ton, and I 
want to act in the moo-vees ver-ry 
much." 

Studio officials looked at one an- 
other. Here was a find! None of the 
"Baby Stars" is more than six. The 
leading man is three. And here was 



Dorothy Jean Hamilton (Right), A 
Two-Year-Old Who Talks Like Ruth 
Chatterton, Becomes The Youngest 
"Baby Star" — And Then Studio 
Learns Of Her Dramatic Life-Story — 
Her Father A War Veteran 



By JERRY BANNON 




ike 

the 



an ingenue of two who spoke 
Ruth Chatterton! They told 
mother, who carried a still smaller 
baby in her arms, "We are going to 
give her a contract." 

For answer, the mother burst into 
tears. "You have no idea what this 
means to us," she told them. "We 



Left, the "gas 
attack" on the 
bonus veterans 
at Washington by 
soldiers of the re- 
gular army, wear- 
ing masks 



have had such bad luck. We 
were with the Bonus Army, 
you see — their father is Ser- 
geant Benjamin Hamilton — 
and the . two babies were 
gassed when they drove the 
veterans out of the camp. 
We didn't think they'd live 
at first." 

Bit by bit, the dramatic 
story came out. The children 
lay for many days in hospital 
beds. When they were finally 
able to leave, still weak and 
sick, there was no money to 
take the family back to Cali- 
fornia. Their parents hitch- 
hiked with them 
as far as Chicago, 
/"* where their plight 

s ; attracted the at- 
V 0^0 tention of a re- 

\wj| porter, as they sat 

WJ on their pitiful 

bundles of posses- 
si ons on Lake 
Shore Drive. 
Newspapers 
caught up the 
case. A wealthy 
man read of them, 
and furnished the 
family with the 
money for rai lroad 
fare back to their home state. 

Now, the troubles of the "Bonus 
Babies" seem to be over. Dotty is a 
movie star. But she has not forgot- 
ten. After beinggassed with the Bonus 
Army, nothing that Hollywood has to 
offer should faze Dorothy Jean, new- 
est of the very new "Baby Stars"! 



^^K^J 



26 



♦ THE NEWSREEL OF THE NEWSSTANDS ♦ 



Mrs. Adolphe Menjou 
Wonders Why Husband 
Now Wants Divorce 

Actor's Wife (Kathryn Carver) Admits Rift, But Claims 

She Does Not Know Reason For It — Couple Recently 

Had "Second Honeymoon" 

By madgetennant 



HOLLYWOOD divorces always 
seem to surprise somebody, but 
here is a divorce that was a surprise 
even to the wife. Kathryn Carver 
Menjou insisted that she had not the 
slightest idea of what made Adolphe 
pack his things hurriedly one evening 
and move over to the house of his 
mother, Mrs. Nora Menjou. 

"I'll bite — what is it all about?" 
Kathryn said. "It all seems so vague 
to me. I was on the verge of a nervous 
breakdown when we returned from 
Europe a few months ago — and I still 
don't feel myself. Until I get better, 
nothing is being done. I guess a di- 
vorce is inevitable." 

A friend relates that Adolphe left 
without explanation, and that it was 
that same evening that Kathryn en- 
tered a hospital "for a complete rest." 
She adds: "Kathryn still loves him. 
When she read the divorce stories in 
the newspapers, she called his 
mother and tried to find out 
what was the matter, of- 
fering to make any 
amends if she had 
been at fault." 

Adolphe Men- 
jou, then di- 
vorced two 
years from his 
former wife, 
K a t he r in e 
Tinsley, to 
whom he had 
long been mar- 
ried, wed Kath- 
ryn Carver, di- 
vorced wife of Ira 
Hill, New York pho- 
tographer, in Paris in 
May, i<)2*. Kathryn had 
been his leading lady in several pic- 
tures, and was just beginning to win 
great popularity for her blonde 
beauty. Agreeing with his theory that 
two careers in one family were a threat 
to happy marriage, she left the screen. 

Adolphe, friends say, was several 



Kathryn 
Carver 
suffered 
a nervous 
break- 
down on 
the same 
night 
Adolphe 
left home 






Kathryn reveals 
that Adolphe 
often looked at 
watch when they 
"stepped out," as 
at left 



years older than 
his lovely bride. 
Perhaps the difference 
in years may have had 
something to do with the gradual 
estrangement of the couple which, 
i hough unguessed by friends, appar- 
ently has been going on for a long 
time. Adolphe, himself, remarked to 
a newspaperwoman, following his de- 
parture from home, "It has been 



HUTTCll 

Adolphe Menjou, famous for his dress-suit roles, 
hates social events in private life — as was brought 
out when he and his first wife, Katherine Tins- 
ley, below, were divorced. Did his love of 
privacy lead to second divorce? 



coming on for years. She 
is a lovely girl, but we 
were not suited to each 
other." 

Menjou, despite his 
suave, dress-suit charac- 
terizations, had little lik- 
ing for the social life his 
3'oung and pretty second 
wife loved. Whenever 
they started out for a 
dinner engagement, she 
related once to a friend, he would look 
at his wrist-watch and ask, "What's 
the earliest we can get away?" At 
the time of his first divorce, it was 
revealed that he preferred to spend 
his evenings at home, reading. 

Recently, Kathryn Carver Menjou 
has been threatened with illness. 
I heir recent trip abroad was, it is 
said, a sort of second honeymoon after 
a slight tiff such as most married 
couples have, and it was hoped ih.it 
the trip might improve her health. 
Hut in New ^ ork she \ isited a doctoi 
who advised her to go hack home to 
California and take a complete rest. 
As a result either of the examination 
of her own physicians or of the shock 
caused by her husband's sudden de 
parture from their home, she suffered 
a nervous breakdown 



27 



\ 



I 



♦ MOVIE CLASSIC TABLOID NEWS SECTION ♦ 




Pauline Starke Claims 
Career Was Injured 
By Director's Remark 

Actress, Missing From Screen For Some Time, Wins 
^ Suit For Salary Against James Cruze, Who Claimed 
She "Couldn't Remember Lines" 




Right, the newest portrait of Pauline Starke. 

Above, Betty Compson, then the wife of 

James Cruze, who replaced Pauline opposite 

Eric von Stroheim in "The Great Gabbo" 



y janet burden 



PAULINE STARKE has just won 
a judgment of $6,030 against the 
James Cruze Corporation after two 
years — two years that saw her exit 
as a popular screen star and her 
establishment as a stage star. The 
six thousand dollars represent the 
balance of the salary Cruze con- 
tracted to pay her as the leading 
lady of his picture, "The Great 
Gabbo"; the 
sum does not 
represent the 
loss of the 
movie salaries 
she mighthave 
been making 
ever since the 
day when she 
was removed 
from the pic- 
ture "because 
she couldn't 
learn her 
lines." 

To-day 
Pauline Starke 
is even more 
beautiful than 
she was in her 
heyday on the 
screen. She 




Director James Cruze claimed that Pauline 

couldn't remember her lines for "The Great 

Gabbo." (P. S. His wife got the job) 



has just completed a triumphant run 
of one hundred and eighty-three per- 
formances in "Zombie" on the stage, 
and several studios are anxious, it is 
said, to use her for a picture, but the 
legend fastened on her two years ago 
still persists: "She can't remember 
ines. 

Here is "the inside story" of the 
testimony at the Academy "trial," as 
related to this 
reporter by 
George Sher- 
wood, Pauline's 
manager. 

James 
Cruze and 
Betty Comp- 
s o n were 
married at the 
time of "The 
Great Gabbo," 
but it was one 
of those on- 
again-off- 
again things. 
At the mo- 
ment when the 
picture was 
scheduled to 
start, it was 
apparently 



"off again." Also, Betty 
was working at another 
studio with no prospects of 
being through in time for 
her husband's picture. So 
Pauline Starke was signed 
to play opposite Eric von 
Stroheim, and filming began. 
For the first two days, 
everything went along beau- 
tifully. Cruze compliment- 
ed her on her work. Then 
suddenly, everything chang- 
ed. As they were eating 
lunch, a telephone call came 
from Betty. "You can?" 
Cruze was said to have ex- 
claimed. "Well, that's fine. 
Come on over and we'll 
talk about it, Betty!" 

The next day, Cruze was 
a different man. Nothing 
suited him. He demanded endless 
changes in dialogue and delivery of 
lines, until Pauline was so confused 
that she was on the verge of hysterics. 
Then he shouted that since she 
didn't seem able to remember what 
she was to say, they would write her 
speech on von Stroheim's shirt front! 
And the next day, he telephoned 
her to say that since she seemed un- 
able to remember lines, he would 
have to let her go — and that Betty 
Compson was replacing her. 

That was the testimony that won 
Pauline her judgment in the new 
private court of Hollywood, the 
Motion Picture Academy, which 
heard both sides of the case. 

Pauline smiles, "I have never for- 
gotten any of my lines in 'Zombie'; 
and I can repeat even now, two years 
later, the speech that Cruze had 
written on von Stroheim's shirt 
bosom in that close-up love scene! 
I even made two talking pictures 
after that without any forgotten 
lines, before the story of my exper- 
ience with 'The Great Gabbo' got 
around and terrified the studios." 

She hopes that, now, she can re- 
sume her screen career where she 
left off. 



28 




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1 




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fc 

Ai 

sa' 
W( 

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\v a : 
15 u 
hea 

\V (j 

Col 

col 
the 
s e n i 
grabl 
wit hi 
lights 
or an>1 
Bu 
Johnnjl 
Buster' 







'^ r -" Anita Page 

Bet you wouldn't have known who 
this was if we hadn't told you first 
thing! Anita is changing so radical- 
ly that even her best boy-friends 
aren't sure they know her these days. 
And it isn't just a caprice on Anita's 
part — the change is all part of her 
campaign to be elected to bigger 
and more emotional roles. It's no 
deep, dark secret that Anita, who 
has warm Spanish blood in her veins, 
is tiring of playing mild little in- 
genues. With her hair parted in the 
middle and a coy shoulder exposed, 
she's vamping Old Man Opportunity! 

Tiamouiak 




Ray Jones 



In her first American picture, "The Doomed Battalion," this exotic 
Viennese was a peasant and a prisoner of war in the snow-covered 
Alps. In her second, "Nagana," she goes to the opposite extreme 
— being a lady of fashion (as well as passion) and a prisoner of 
love in equatorial Africa. For almost a year the Laemmles have 
been seeking "the right role" for their find — and here it is! 

32 



TALA BIRELL 




Bachrach 



LUPE VELEZ 



Off the screen, Lupe may adopt a little girl and become a fond 
"mama," but before the cameras she's still a sirenish seriorita, 
mucha caliente. (That's Spanish for "hot-cha.") In "Phantom 
Fame," for instance, she is a high-pressure carnival dancer who 
nabs a chunk of Broadway fame. Next she'll be causing dissen- 
sion between Edmund Lowe and Victor McLaglen in "Hell to Pay" 

33 



L 




When they aren't bagging big roles, Hollywood's new 
big shots are out for other "big" game. Cary Grant 
(top left), Sylvia Sidney's hero in "Madame Butterfly," 
hits for the High Sierras, loaded for bear. George 
Brent (top right), before starting "Luxury Liner," had 
the quail quailing. Clark Gable (above) is sniffing 
gunpowder even between scenes of "No Man of Her 
Own." Bette Davis (right), heroine of "Parachute 
Jumper," plans to have duck for Christmas! 



Longworth 



34 




Fryer 



LORETTA YOUNG 



Now is the time for some good poet to come to the aid of his 
country, and write an ode to the wistfulness of Loretta. When she 
puts her mind to it, Loretta can be beautifully sad — as she proved 
in "Life Begins" (and won stardom). But why so sad now, Loretta? 
Think of this — the youth of others may go, but you will be ever 
Young! Can "Employees' Entrance" be making you poignant? 

35 



*r 




















36 



WYNNE GIBSON 

Wynne hos won her way to the 
threshold of stardom in an unusual 
manner — by playing slightly soiled 
ladies whose vocabularies are 
crisp, like their manners, but likable 
ladies for all that. Wynne-some, 
vou might say. And the latest in 
her gallery of vivid portraits is the 
role of Violet in "If I Had a Mil- 
lion," in which practically every 
player on the Paramount lot takes 
part. Up at the top, for contrast's 
sake, is the different, real-life 
Wynne — the girl who goes horse- 
back-riding up at Lake Arrowhead 
with Cary Grant between pictures. 
Is there romance in the air? 



Hollywood's Own Slant on 

George Raft 

Besides being a romantic menace on the screen, he's a man of mystery off the 
screen. Either on or off, he's the kind you talk about. In fact, there's a rumor that 
the name of Raft is supplanting the name of Gable on America's tongue. And if 
the rest of the world is chanting his praises, what is Hollywood saying about him? 

Here are its private, confidential comments! 



EVER since they 
watched him toss 
a coin in the air 
and saw him 
"die" the most memor- 
able "death" of the year 
in "Scarf ace," Americans 
have been George Raft- 
conscious. A big argu- 
ment flared up as to 
whether • or not he was 
the successor to Rudolph 
Valentino, who once tried 
to get George into the 
movies to play his brother 
in a film. George, him- 
self, made fun of the 
debate. 

Interviewers, positive 
that he must have a color- 
ful past, swooped down 
upon him — and he re- 
vealed that he had once 
danced for profit, along 
with Valentino, in New 
York cafes. Beyond that, 
he told them just enough 
to keep his mystery and 
whet everybody's curi- 
osity. Off the screen, he 
became the victim of one 
romance rumor after 
another. On the screen, 
he went on being a ro- 
mantic menace in "Taxi," 
"Dancers in the Dark," 
"Night World," "Love 
Is a Racket," "Madame 
Racketeer" and, finally, 
as the star of "Night 
After Night." 

There's no question 
but what he rates with 
critics and the movie- 
going public. But what does Hollywood 
say about him? What do other stars 
(some of them his rivals), and directors, 
and people who know him off the screen 
think of him as an actor and as a person- 
ality? It stands to reason that if we 
wanted their frank opinions, we couldn't 
tell them they were talking for publica- 
tion. Their comments here, therefore, 




were dropped casually, 
not for any audience. 
Which makes them all 
the more worth hearing: 

Paul Muni (star of 
Raft's first screen success, 
"Scarface"): "What do 
I think about George 
Raft as an actor? Say, I 
don't have much time to 
worry about George. I've 
got my hands full trying 
to put over Munil" 

Karen Morley (also of 
"Scarface"): "George 
Raft is a tremendous 
screen personality, but 
don't let anybody tell 
you that he isn't an un- 
usually fine actor. I 
wonder why it is that 
most people hate to ad- 
mit that a man can be a 
'personality' and an actor 
at the same time. Maybe 
they feel the combination 
is too much luck— for one 
man." 



D 



Jotted down 
by 

DOROTHY 
MANNERS 



Doug Praises Raft 
Ballyhoo 

OUGLAS FAIR- 
BANKS JR.: "The 
Paramount publicity de- 
partment can step up and 
take a bow on the great 
amount of interest they 
have created in George 
Raft, who has made only 
seven or eight pictures. 
It is comparable to the 
great build-up campaign 
waged by M-G-M for 
Clark Gable. Don't mis- 
understand. I'm taking nothing away 
from either of these men as actors and great 
personalities. But the fact that their 
respective studios have 'told the world' 
about them hasn't hurt anything, either." 
Jean Harlow: "The first I ever heard 
about Mr. Raft was, 'He is a great per- 
sonality.' Since the release of 'Niglit 
{Continued on page 67 ) 

37 



Joan Crawford, 

the Star Who Never Rests 



You don't know what ambition is until you meet Joan Crawford. She's 
incapable of being satisfied with herself. If she reaches one goal, she forgets 
about it — and pushes on toward a new one. "Fame and money aren't enough," 
says Joan, who tells, in this frank interview, what she wants from life. Also, 
she spikes those rumors that her ambition is interfering with a happy marriage! 




heavy for the screen, she went for three years without 
really eating a full meal. 

Joan has put on weight, after all her deprivations, for 
the sake of her ambition. When she knew 
she was to play Sadie Thompson in "Rain," 
she wanted Sadie to be slightly plump and 
blowsy, ever so slightly hippy. She ate, though 
it choked her, and gained the 
desired weight. 

We all know how Joan has 
re-created herself — from the 
hot-cha girl of a few years ago 
to the poised, controlled and 
dominant woman she is to-day. 
The transformations of Joan 
have been written and rewritten. 
Back of those transformations 
was, and is, the burning fire 
of her ambition. 

Joan does not know 
the meaning of dal- 
liance, of play- 
time. She never 
takes a vaca- 
tion as other 



JOAN CRAWFORD would put a farm 
woman to shame. Joan would make 
a treadmill look like a toy. Joan 
has never even stopped to listen to 
the tale of the lilies of the field that 
neither toil nor spin. She is The Star 
Who Never Rests— and never will rest. 

Ambition burns in the 
heart of Joan like a consuming 
white flame and from her 
heart it devours her face, re- 
vealing the tragic bone-struc- 
ture. It makes of her eyes 
ravenous pools of an incredi- 
ble immensity. Her mouth 
has the insatiable look of one 
who is forever seeking. 

Joan has starved for the 
sake of her ambition. When, 
a few years ago, she was too 

38 



Joan first found 
fame as a danc- 
ing girl, and is 
an expert 
dancer — but 
still takes 
lessons! 



R. H. Louise 



WHY JOAN NEVER RESTS 

"I want the Joan Crawford I am this year to 
be only a building block for the Joan Crawford 
I shall be next year. 

"I want to be prepared for those years that 
come after youth is gone.' If you are prepared 
for them, they never catch up to you. 

"I want never to be second-best. I haven't 
even begun yet to be what I want to be. I 
haven't done anything yet, not one single thing, 
with which I am content. 

"I have to be ambitious in two ways, you know 
— in my work and in my home. I believe that 
it is perfectly possible to be both if you have 
enough humility. 

"If I make a picture that is something of a 
triumph, I see to it that I am the same person at 
the end that I was at the beginning. 

"Ambition is apt to be a tiring thing. But that 
can be handled, too. 

" You ask me whether there is anything in the 
world for which I would sacrifice my ambition. 
Yes, two things." 



By FAITH SERVICE 



people mean vacations. She never 
simply rests. There are no break- 
fast trays in bed for Joan. There 
are no afternoon bridge parties. 
There is none of the frittering away 
of time indulged in by other girls — 
girls who haven't begun to ascend 
the ladder mounted by Joan. 

Joan's Busy Day 

JOAN rises at six-thirty every 
morning, whether she is making a 
picture or not. She 
has an hour of setting- 
up exercises. She eats 
a light breakfast. She 
sees to her household, 
orders menus, checks 
over her dates for the 
week, consults with 
Douglas on his pref- 
erence for this or that 
plan. If she is not 
making a picture, she 
takes a two-hour danc- 
ing lesson. Joan has 
danced for years. The 
average girl would sup- 
pose that Joan danced 
more than well enough. 

There is no such thing as "well enough" for 
Joan. The ambition that consumes her 
has nothing to do with second-best. She 
must have perfection or nothing. She 
never takes nothing. 




Hurrell 



After the danc- 
ing lesson there is 
the singing lesson. 
A two-hour session. 
Sometimes Joan 
sings for three 
hours or even 
more. She is 
driven. She can- 
not stop. After the 
singing lesson there 
is a French lesson, 
also a two-hour 
period. And after 
the French lesson, 
a tennis lesson. 
Dancing lesson. 
Singing lesson. 
French lesson. 
Tennis lesson. 
Check these off on 
your fingers and 
all of this "when 
I'm not working" 
— and any one of 

these the life-pursuit of many a so-called ambitious 

person. 

In between whiles, and at nights, Joan reads. Reads 

omniverously. Reads all the best the publishers have 

to offer of memoirs, biographies, fiction. When I talked 

with her the other day, she had "The Last of the 

Kaisers," by Emil Ludwig, with her. 

"When I am thirty," she told me, "I want to h;i\< 

all these things behind me so that I can go on ... I 
(Continued on page m) 

39 



Miehle 

After dieting three years, Joan added 
weight to play Sadie Thompson, above. 
Left, she defies self-consciousness in her 
new 1890 evening ensemble. At top, the 
latest portrait of Joan, whose new mood is 
a gay one 



// 



TONY, 7 Tom Mix's Horse 
Says Goodbye 



Transcribed 
by 

Jack Hill, 

who has 

known "Tony" 

fifteen 

years 



After twenty-three years of 
being Tom's best pal, car- 
rying him through thick and 
thin, Tony is being put out 
to pasture for the rest of 
his days. But, like "Black 
Beauty," good old Tony 
has a few things to tell his 
public before he goes! 



RETIRED! "Tony Mix 
officially turned out 
to pasture!" That's 
c the way they an- 
nounced that my screen days 
were over. Since I was only a 
horse, my viewpoint was not 
considered. But that doesn't 
keep me from telling the boys 
and girls what I think about 
it. I agree with the admirals 
in the Navy and the generals of 
the Army — there isn't any sense 
to this retirement business, 
meaning horse sense. The ad- 
mirals and generals are sent 
home at sixty -four. I am 
twenty -three, and they are 

sending me away from home — is there anything 
fair about that? 

If I were to circulate a petition for reinstatement, 
there would be plenty of signers-people I've met, 
prominent ones, too. There would be ex-President 

40 




"Tony," the most famous horse in the world 
(center), hates to see his harness hung up after 
twenty-three exciting years. One of the horses 
at Mixville (above) will be his successor 



Coolidge — I've been photographed with 
him; likewise President Hoover. I also 
knew Presidents Taft, Wilson and Hard- 
ing. Four times I visited the White 
House, once inside to meet Mrs. Harding. 
Forty-eight governors, including Alfred 
E. Smith and Franklin D. Roosevelt, 
and mayors by the hundred are my per- 
sonal friends. 

Furthermore, royalty and foreign no- 
tables would come to my rescue. The 
Prince of Wales chatted with me in Tatter- 
sails, London. I met President von 
Hindenberg in Berlin, and the late Presi- 
dent Gaston Doumergue in France. Sir 
Arthur Harris, Lord Mayor of London, 
looked me over and said I was a fine 
horse, and der Herr Sehr Hoch-geboren 

Heinrich von Kleinberg, Burgermeister of Berlin, had 

the same idea, only in German. 

On the same trip, I was presented to Prince Henry, 

of Prussia; Queen Marie, of Roumania; the Crown 
(Continued on page 60 ; 



B®> 




I 




1 



a! A 



w 



MARY CARLISLE 

There's on old saying about the shoe's pinching 
on the other foot now — and Mary says it's cer- 
tainly true in her case. She danced her way into 
the movies, but became dramatic overnight, and 
now she hardly dances at all, except for exercise. 
Her specialty is kicking the ceiling, providing it's 
a sloping one. For she is one of the littlest little 
girls in the movies — but, even so, she's going a 
long, long way, say the prophets. Remember her 
as the shy little bride in the last scenes of "Grand 
Hotel"? That started the prophecies. She's now 
with Irene Rich in "Her Mad Night" 

Milton Brown 




Ray Jones 



Every star has his hobby — but Lew has two. One of them is as- 
tronomy, and the other is clay-modeling. The Little Woman, Lola 
Lane, hinted that star-gazing kept him out too late at night — so 
now he spends his spare time in his workroom, engaged in play 
that is also work. Here he's creating a figure of challenge. May- 
be a self-portrait? You'll next see Lew in the all-star "State Fair" 

42 



LEW AYRES 



„ 




Hurrell 



MARY BRIAN 



Everyone thought Mary was in the corner, weeping, because she's 
now a free-lance player, instead of having a studio for a boss. 
And, lo and behold, Mary turns around and flashes the one and 
only Brian smile, the same as always. She enjoys independence. If 
she doesn't like a role, she doesn't have to take it. She happens 
to like the one opposite James Cagney in "Hard to Handle"! 

43 




Jackie Cooper 
has a new idol — 
Johnny Weiss- 
muller. (Wally 
Beery kindly take 
a back seat, 
now!) And the 
big'Tarzan" man 
thinks Jackie's a 
great little guy! 



Jackie and Johnny 
Are Buddies 



It's Johnny that 
Jackie wants to 
be like now 
when he grows 
up. So what 
Johnny does, 
Jackie does — 
including horse- 
back riding 



44 




BRUCE CABOT 



Longet 

Let's give three long cheers — or shall we make it a locomotive 
yell? — for Bruce. He apparently hasn't gone the way of all flesh 
and taken up turtle-neck sweaters. And he's original in other ways, 
too — as you'll discover in "King Kong," in which RKO's big Gable 
threat plays the hero, with a huge ape for villain. Right now, he's 
resting on the sidelines, waiting for some more he-man adventure 

45 



r 




- 










Preston Duncai 



THREE JOAN BENNETTS 



Most people have dual personalises — bu+ Joan is ^hree airls meraed into one: 
a serious girl who + aKP<; fe seriously: a dreamer, whose areams are *mqea 



l. -iPSS ino i 



ceatu- 



half an iaea, but in "Me ana My Gai" you'll see The wnoie Three Joans 




Now that the 
election's over, 
Eddie is trying 
to look aloof 
from politics. 
At top, with the 
six girls in his 
life — Mrs. Can- 
tor, and the five 
little Cantors 




Eddie Cantor 

Would Rather Be 

"Papa" Than President 

Eddie beat both Roosevelt and Hoover to the radio to tell America what he would 
do 'when I m the Pres-i-dent. But, as usual/ he was only kidding. Seriously/ his am- 
bition is to be elected a great big family man. If you didn t know Eddie has a serious 
side, just listen to what he says about the six girls in his life — all of them named Cantor 

By HELEN LOUISE WALKER 



EDDIE CANTOR is back. Broadway's own Eddie. 
Star of a dozen Ziegfeld shows, master of cere- 
monies at a thousand benefits, shrewd and salty 
commentator on modern life — friendly, sentimen- 
tal, beloved singing clown. Eddie Cantor. 

Mi has just finished the last retake on "I he Kid from 
Spain," Samuel ( ioldwyn's million-dollar musical extrava- 
ganza. I he Wise Boys were amazed at Sam's temerity in 
risking so much money on such a picture at such a time. 
This is the time to give the public something good," 
retorted the shrewd Goldwyn. "After all, 1 have Eddie 
Cantor in the piece. ..." And he dug into his jeans for 
another couple of hundred thousand for some addition to 
the picture that had just occurred to him. The little 



dynamo of laughter named Cantor was security for his 
million. Well, Sam has made few mistakes in the show 
business. He is probably right again. 

A few days ago, Eddie went bustling off to New York to 
fulfill a twenty-seven weeks' contract ori the radio, lie 
was busy, the last time I saw him, writing the first of his 
radio acts. Each one, you see, must have a Message. 
Eddie believes in Messages. "Noi soupy, Polly anna 

stuff," he assures you. "Just a little note of human 

sympathy — that little touch of something thai nudges 
people gently near the heart!" 

For this little, wisecracking, Broadwaj entertainer with 
the bulging, tired eyes and the Puck-ish, heart-shaped 
(ConiiniirJ an page jo) 

47 




Wide World 

Stars aren't missing this year's big Mayfair parties, if they 

can possibly get there. For instance, here is Lilyan Tash- 

man, just recovered from an appendicitis operation, 

gamely attending one with husband Edmund Lowe 



Wide World 

All four of the stars above — Clark Gable, Norma Shearer, Joan Craw- 
ford and Douglas Fairbanks, Jr. — sort of have the habit of giving small, 
intimate parties, themselves, but they like to attend the big ones, too. 
They're all registering pleasure at being at the opening Mayfair ball 



The Stars Are At It Again 
Giving Bigger and Better 

Parties 



By 
CAROL MAYNARD 



HOLLYWOOD is giving parties again, as 
only Hollywood knows how to give them ! 
Maybe the Presidential campaign had 
something to do with it, what with the 
promise from one party for "a new deal for the American 
people," and the statement from the other that "the 
crisis is past — we are on the road to recovery." Or maybe 
the cessation of the Sino-Japanese conflict had some- 
thing to do with it (Hollywood has such quaint reasons for 
the things she does). Or it might be (and probably is) 

48 



Marion Davies had 105,000 guests — count 'em — 
at her Electrical Pageant. Mary Pickford gave a 
bridge party for 1,000 at Pickfair. Everybody in 
town has taken up Bessie Love's big luncheon idea. 
The Fredric Marches made over their home for a 
"Gay Nineties" party. Elissa Landi made over 
hers for a Wild West dance. After two bleak social 
seasons, the stars are entertaining in a big way! 



that merriment and hospitality are part of the Hollywood 
scene and that the old town didn't feel natural with the 
WELCOME mat missing from the front steps. 

The social ball started rolling with the highly successful 
summer of Olympic Games in Los Angeles and kept right 
on rolling through the autumn season of opera, football 







Wide Worm 

While their husbands duck out of camera range, three of the girls are 

snapped in their newest finery at a Mayfair dance. Left to right, they 

are Sharon Lynn (Mrs. Barney Glazer), Helen Hayes (Mrs. Charles 

MacArthur) and Dolores Del Rio (Mrs. Cedric Gibbons) 



Wide World 

It seems like old times, seeing Hollywood give big parties 

again — and seeing Colleen Moore attending them once 

more. Here she is, at one of the weekly Mayfair dances, 

with Ralph Graves and Marian Nixon (right) 



and Mayfair parties not to 
mention two large and elabo- 
rate private functions given 
by the Fredric Marchs and 
Elissa Landi, respectively. 

Charity has, of course, 
prompted its usual quota of 
Hollywood festivities and en- 
tertainments — the largest char- 
ity affair being sponsored by 
Marion Da vies with an Elec- 
trical Pageant of Hollywood 
on Parade, given at the Olym- 
pic stadium. 105,000 people 
turned out to this event, the 
proceeds going to the Marion 
Davies Foundation, a charity 
for children. Stars from every 
studio gladly consented to 
ride in the parade and this 
party of Marion's is beginning 
to be an annual, and looked- 
for, social event. 

Also, in the name of char- 
ity, Mary Pickford threw wide 
the gates of Pickfair to one 
thousand bridge players! In 
other words, for the price of a ticket, Miss Flapper and 
Mrs. Housewife could stroll about the exclusive Pickfair 
grounds, just like the visiting royalty! It is said that tin 
Mary Pickford tea party raised #50,000 for the Motion 




All the stars belong to the Mayfair Club — ami, from 

the look of tilings, a quorum is present every week. 

Spot some of your favorites' 



Jntrrrl'itlnii'il 



Picture Relief Fund, which aids destitu 
families. I Ins is the favorite charity oi the 
because they are h< Iping I hen Own People 

{Continued on page 73) 



te I loll) wood 

movie stars — 



49 



Looking Them 




For films, you have to have all the 
poise of an artists' model. And 
that's what Judith Barrie (above) 
used to be. You'll see her with Tom 
Mix in "Hidden Gold" 



THOUGH John Gil 
bert announced 
that his trip to 
Europe with 
his bride,Virginia Bruce, 
was just a delayed hon- 
eymoon, Hollywood 
won't be downed on 
her favorite latest 
rumor that the Gil- 
berts are expecting 
the stork. 

With Virginia 
now definitely 
retired from a 
career, their 
close friends say 
nothing would 
make the Gil- 
berts happier 
than to have a 
child — or several 
of them. 

Leatrice Joy (Jack's sec- 
ond wife, and mother of his 
daughter) once explained 



Gossip From The 
West Coast 



that Jack's paternal feelings were slightly indifferent 
— but that was the excitable, restless Jack Gilbert of 
old, and not this newly settled and domesticated 
John Gilbert, who married Virginia Bruce. 

Once these temperamental gentlemen do decide to 
settle down, they make wonderful husbands and 
fathers. Witness the formerly devil-may-care John 
Barrymore, who did a complete right-about-face 
after he married Dolores Costello and became the 
very proud papa of a baby girl — and boy! 



IT was option time! The kindly executive was 
trying to make the actor understand why he 
couldn't expect the raise on his contract that was 
coming to him. "You aren't worth any more 
money to us," explained the Exec. "You're a good 
actor, sure, but you haven't got sex-appeal." He 
decided to elaborate on this idea. For a solid hour 
he explained to the actor that women just didn't 
go for him. His final stroke of financial genius was 
this: "Put you in the same room with So-and-So 
(naming another star under contract to the same 
company) "and the women wouldn't even know 
you were alive — see what I mean?" 

All this time the actor had said nothing. He 
had merely sat and listened. Not once had he 
lost his temper. With this final crack, he smiled, 
"Well, if that's the case, I think it only fair 
that So-and-So should get the raise that was 
coming to me! I'll tell him you think he's such 
hot stuff!" 

"No!" screamed the Exec, "don't give him 
any silly ideas!" 

P. S. The actor got the raise on his contract! 



Randolph Scott is roping in Sally Blane 
(above) without benefit of a lasso, for "Wild 
Horse Mesa." Randy, a Virginian who looks 
like a combination of Chevalier and Gary 
Cooper, is Paramount's new Western star 



After the downpour he went through 
in "Rain," William Gargan can't get 
enough of sunshine. He's warming 
up now for "The Animal Kingdom" 




50 



Over 



B 



y 



Dorothy Manners 



IILY PONS pulled a cute one. Invited out to 
_rf M-G-M to lunch with Ramon Novarro, Joan 
Crawford and Robert Montgomery, the sensational 
little French opera singer brought along her autograph 
book! Were Joan and Ramon and Bob surprised? They 
had their books all ready to ask Lily for hers! 



HOLLYWOOD, as well as the rest of the world, is 
beginning to get a brand-new slant on Clara 
Bow. There's no getting away from it — for years her 
fellow-players took something of a patronizing air toward 
Clara. They readily admitted the redhead's dynamic 
screen personality and her acting talent, but for Clara, 



1 1 


■^te-^ 




i Br 

1 


' m 1 

▼ 1 




i 


I 


mm 




COflffU 01 Ifi 

From the way the dancing girls cluster around him hetween scenes 
of "42nd Street," you'd never suspect that Warner Baxter plays a 
hard-hearted dance director. Which proves that when Warner 
steps outside for a breath of fresh air, he steps out of his role, too! 



Acme 
Jeanette MacDonald's 
sheep dog is trying to 
pull her hack to Holly- 
wood — but Jeanette likes 
Europe so well she may 
do a film over there! 



The other eve- 
ningClara attend- 
ed a very swanky 
party, which was 
also attended by 
several of Holly- 
wood' s swankiest 
lady stars. And 
Clara's gown, and 
Clara's deport- 
ment, completely 
stole the show! 
The Bow was very 
quiet and reserved 
and completely 
d r awi ng-room 
but, oh, that gown 
she wore! A 
slinky, slithery 
silver-cloth, cut in 
the most daring 
decollete, and her 
vivid red hair, 
worn in a long 
bob, made Clara 
the most start- 
ling-looking wo- 
man in the room. 
Said one very gen- 
erous lady star: "She's the most fascinating-looking 
thing I ever saw." No longer are Hollywood ladies 
dismissing Clara as "a poor little thing." 



What would you do if a Panther 
Woman (like Kathleen Burke) took 
a liking to you? Richard Arlen 
wonders in "Island of Lost Souls," 
in which animals turn into humans! 



the girl herself, they assumed a " Poor-little-thing-she-has- 
Buch-tough-luck-doesn/t-she ? " attitude. Clara's outland- 
ish clothes and her outlandish publicity never made her 
real competition to the local success sirens. 
But now! . . . 



AFTER long debates pro and con, it has been 
i decided by the Warner Brothers nor to co-star 
Ruth Chatterton and George Brent in more than 
one or two pictures a year — if that many. Ruth had 
expressed the desire to have her brand-new husband 
opposite her, and at the time their romance was dot- 
ting newspaper front pages, the studio liked the idea. 

Now that the excitement of the Forbes-Chatterton- 
Brenl triangle has died down. Ruth and George are just 
another movie married couple, and married couples have 

never been sine-tire at the box-office. 



51 



IF you can believe 
all you hear: 

Gwili Andre and 
Willis Goldbeck 
(scenario writer) are 
headed altar-ward 
with "sometime next 
Spring" set as the 
time for wedding 
bells. 

Boris Karloff has 
been advised not to 
be so friendly, con- 
genial and kindly to 
fans he greets in pri- 
vate. Boris is one of 
the most amiable and 
agreeable gents in 
Hollywood, and his 
advisers have decid- 
ed it is bad business. 
The claim is that the 
fans expect him to be 
mysterious — and 
dangerous. 



NEVER has any 
actress re- 
ceived the friendly 
demonstrations that 
greeted every screen 
appearance of Jean 
Harlow in ' ' Red 
Dust." And best 
news of all, accord- 
ing to the manage- 
ment of the Pan- 
tages Theatre in 
Hollywood, it 
was the mati- 
nee audi- 
ences, com- 
prised chiefly 
of women , 
that were the 
loudest and 
most enthusi- 
astic about "giv- 
ing Jean a 
hand." 

Certainly this 
girl is on her way 
to one grand 
career! In two 
pictures she 
takes her place 
along with Joan 
Crawford and 
Norma Shearer 

as one of the oustanding feminine 
attractions of the M-G-M pro- 
gram. 



NOW that Mary Pickford's 
niece, Gwen Pickford 
(daughter of Lottie), is blossoming 
into such a very pretty young 
Hollywood debutante, we hear 
that several young actors have 




cast an interested eye in her direc- 
tion. And we also hear that Gwen 
withers them all with a very frigid 
response to their dining and danc- 
ing overtures. 

Sighed one young man, who had 
come out on the icy end of an 
invitation to Gwen: "... and 
they call Garbo cold!" 



ESTELLE TAYLOR and Lyle 
Talbot have apparently called 
quits to their torrid romance of a 
couple of months. It seems that 
Lyle had matrimony in mind — 
and Estelle didn't. When Lyle 
became too insistent on wedding 
bells, Estelle stepped out of the 
picture and now is lunching with 
John Warburton. 

In the meantime Lyle has met 
Sandra Rambeau . . . 



w 



Irene Rich keeps young by going 
places with her daughters, Fran- 
ces and Jane. Here they are 
aboard the freighter S. S. Fella 




What's this — 
Gwili Andre a 
bathing beauty? 
You'll probably 
stay to see "No 
Other Woman" 
twice! 




ILLIAM 
HAINES' 

newest idea for in- 
terior decoration is 
gingham-covered 
picture frames ! Try 
that on your old 
bureau .... 

But all joking 
aside, it is a pretty 
cute trick, and such 
ladies as Constance 
Bennett, Joan 
Crawford and Tal- 
lulah Bankhead are 
among the gingham 
devotees. 



SALLY EILERS 
will probably 
win the palm as 
The Most Disap- 
pointed Gal in Hol- 
lywood. Sally, you 
remember was just 
crazy to do "The 
First Year" on the screen, and you know 
how that came out! 

Just recently Sally had her heart set 
on "Walking Down Broadway" when 
along came Boots Mallory and walked 
off with that one! This Mallory girl, by 
the way, looks like a sensation. 



WHAT a month this has been for 
new romance combinations in 
Hollywood ! 

Phillips Holmes is taking Frances Dee 
to tea. 



Freulich 

The most popular actor in Holly- 
wood — that's Russell Hopton. Now 
in "Destination Unknown," he holds 
the year's record for The Most Roles 



Another local girl 
makes good, by being 
"discovered" on Broad- 
way — Marion Burns. 
You'll glimpse her in 
"Man Eater" 



Ivan LebedefF 
seems to have 
lost everybody's 

{Continued 
on page 55) 



52 



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53 



. 



Is LON CHANEY'S Son Fated 
to Suffer for Films, Too? J 

When Creighton Chaney got his movie chance, they wanted him to be "Lon Chaney, Jr.," but 

he refused — because he didn't want anyone to expect him to be like his famous father. Already 

he has had to perform some dangerous stunts, and has been injured — but he won't use c double, 

even if he has to risk his life. His father felt the same way! 

By NANCY PRYOR 



CREIGHTON CHANEY, son of the beloved Lon, 
has made but three pictures for the screen, and 
yet Hollywood is asking: "Is the son slated for 
the same career of physical 
suffering that glorified the father — and 
at the same time contributed to his 
untimely end?" 

In the first picture Creighton made 
under the terms of his RKO contract, he 
was called upon to leap from a tree onto 
the back of a supposed-to-be runaway 
horse. He is only a passable horseman, 
but the son of Lon did that perilous 
stunt — and dislocated his hip, fractured 
a thumb and broke a rib! To many who 
worked on the picture with him, this 
will be the first news they have of the 
injury the boy did himself. Creighton 
didn't mention it — he didn't even ask 
for the services of a doctor. 

In another chapter of the same serial, 
"The Last Frontier," Creighton, who is 
only a fair swimmer, leaped into some 
charging rapids and performed a swim- 
ming stunt that would have been diffi- 
cult for Johnny Weissmuller — at the cost 
of a dislocated shoulder! 

He has been in pictures eight months, and 
in that time, in order to bring down his weight 
to the rigid requirements of the camera, he has 
lost thirty-five pounds on a self-sacrificing diet 
that cannot have helped but weaken him. 
For young Chaney lost not one ounce of fat 
in that reduction! There wasn't any fat on 
him. His entire two hundred and fifteen 
pounds were solid muscle. A gruelling five- 
mile daily run and a diet of fruit juices were 
his offerings upon the altar of his Dad's 
profession. 

Willing to Do "Anything" 

r' makes you stop and wonder about 
this six-feet-two overgrown boy of 
Lon Chaney's, who is so crazy to do 
something worth while on the screen 
that he is willing to do "any- 
thing.". . . 

He has been heralded as a pos- 
sible successor to Clark Gable. But 
he isn't like Clark. He isn't like 
any other actor. He isn't quite 
sure, himself, if he is an actor 
at all. But he swears to all and 



sundry that he is going to be! He is going to study and 
learn and hope for the breaks and do what they tell him 
until he has that 01' Devil Camera mastered! He is sin- 
cere and terribly serious about 
himself and the movies. His 
almost-M^rZowish viewpoints 
about a Hollywood career might 
be kidded — in anyone but Lon's 
son. You have only to talk to 
Creighton an hour to learn that 
he is admittedly a babe in the 
movie woods. He is tall and 
dark with nice eyes, particu- 
larly nice when he smiles, 
which he doesn't often do. 
"I'm so green at this 
Hollywood game I don't 
even know many other 
actors," he says seri- 
ously. "My pals at the 
studio are the fellows in 
the publicity department 
and others like that about 
the lot. When my father was 
here — well, he wasn't any too 
keen about having me hang 
around the studios. I only 
visited his sets once or twice 
in all the years he was a 
movie star. I don't think 
my Dad wanted me to be 
an actor. But I guess that 
is natural. A lawyer sel- 
dom wants his son to be 
a lawyer, and doctors 
have all sorts of reasons 
why they don't want 
their boys to follow in 
their footsteps." 
Because I had heard 
of all these physically 
{Continued on page 6g) 




Creighton Chaney says, "My 
Dad would feel disgraced at the 
idea of a double for a Chaney" 



54 



Looking Them Over 

{Continued from page 52) 

telephone number except Catherine Har- 
die's. 

Lupe Velez went night-clubbing with 
Charlie Morton, who is supposed to be 
semi-engaged to Eleanor Hunt. 

Buddy Rogers is back in town, giving 
Mary Brian an awful rush, and is Dick 
Powell upset? We hear that's nothing to 
the way Russell Gleason felt when he got 
in from Europe. 

Dorothy Lee has been known to cast very 
sweet smiles in the direction of her dancing 
partner, Billy Taft, whenever she gets 
peeved with Marshall Duffield (which is 
quite often). 



MONA MARIS and Gilbert Roland are 
going places together, though Holly- 
wood has a hunch that Roland is still 
carrying the torch for Norma Talmadge. 
For that matter, we hear that Mona's heart 
has never entirely healed since the time she 
and Clarence Brown were that way about 
each other. 

These consolation romances can be very 
dangerous, so don't be surprised if this one 
becomes a real romance! 



UNLESS the movie fans in Los Angeles 
start behaving themselves at local 
"preview" showings of big pictures, the 
movie producers are going to stop showing 
their masterpieces to the home-town 
audiences. In other words, the professional 
preview audiences are beginning to be very 
"smarty" and "kidding" about the new 
pictures so generously dished up to them. 

In view of the giggles and razzings that 
have greeted some excellent pictures lately, 
"preview night" has come to be something 
of a real hardship to the stars and pro- 
ducers. Often it has led to unnecessary 
expense when the producer, judging from 
the "audience" reaction, has remade cer- 
tain scenes and sequences. 

The latest tip is that the new pictures will 
be taken to San Francisco or San Diego for 
their tryouts. 



HERE'S a hot one for you: Eddie 
Cantor very definitely and very un- 
humorously refuses to have his name listed 
among the board of directors of the super- 
ultra Mayfair Club. Considering that 
I lolly wood has always bestowed these 
"directorships" as a mark of honor (this 
year Fredric March is President, Norma 
Shearer vice-president, and Irving Thalberg, 
\\ infield Sheehan, Joseph Schenck, Mary 
Pickford and other high-lights are among 
the directors), Cantor's refusal to be 
"honored" has Hollywood guessing. 

We hear it rumored that Cantor and one 
of the other directors are enjoying one of 
those puzzling Hollywood feuds, and Eddie 
won't even be "listed" with his antagonist. 



OVER the New York-to-Hollywood 
"grapevine" we hear that Norma 
Talmadge was one ol the first in line to Bee 
Norma Shearer's interpretation of her 
(Norma Talmadge's) ureatest screen suc- 
cess, "Smilin' Through. ' And, what's more, 
they Bay the original Norma wept copiously 
at successor Norma nin port rayal. 

Tins should be a greatei tribute to Norma 
Shearer than all the critics' enthusiasms tied 
in a bundle. Surely, there is no greater 
criticism ol any player's work than from the 
actress who created the rdle for the screen. 

Wonder whal • iloria Swanson though) ol 
Joan Crawford in " Rain "? 

{Continued on page 59) 



RADIANTLY 





I A A .... 

HEALTH— Life's no fun when 
you're only half-awake. If you 
want to feel fine, sweep away 
the poisons — and your clean 
blood will give you a new pep. 



SHE FOLLOWS THE SAL HEPATICA 
ROAD TO INTERNAL CLEANLINESS! 



TO be wide-awake, fresh, healthy, 
lovely to look at — you must keep your 
system free of impurities and poisons. 

Sal Hepatica keeps you internally 
cleansed the saline way. It first flushes 
away the wastes and poisons which clog 
the digestive tract. But because it is not 
an ordinary laxative, but a saline — it rids 
your blood-stream, too, of poisons! It 
cleanses and purifies your system! 

It is for this reason that Sal Hepatica 




CONSTIPATION 



combats colds, headaches, rheumatism, 
and skin-blemishes. It contains the same 
salines as do the health springs of Wies- 
badenand Aix. It is America's great saline! 
Tomorrow morning — start with Sal 
Hepatica. In a short time you'll feel 
better. Then — your eyes will brighten, 
your skin will freshen, there'll be new 
lightness in your step. Your whole point 
of view will brighten up because your 
system has been purified I 



Q feftl 



HEADACHE 



COLDS 



COMPLEXION 



RHEUMATISM 



SAL HEPATICA 



Mo 



vi e 



Lette 




a s s i c s 
Page 



Become a Critic — Give Your Opinion — Win a Prize 

Here's your chance to tell the movie world — through Movie Classic — what phase of the movies most interests you. Advance your ideas, 

your appreciations, your criticisms of the pictures and players. Try to keep within 200 words. Sign your full name and address. We 

will use initials if requested. Address Letter Page, Movie Classic, 1501 Broadway, New York City 



.00 Letter 
Jungle Films 

JUST a few hours ago I sat through 
"Kongo" and now I am ready to swear 
by all the ring-nosed savages in South 
Africa that I saw the identical picture many, 
many moons ago in the distant past, long 
before the talkies uttered their first un- 
melodious squawk. According to my be- 
fuddled memory, Lon Chaney portrayed 
the same sordid character that was so 
capably enacted by Walter Huston in this 
new version. And if I can still depend upon 
my memory, the name of the old silent 
production was "West of Zanzibar." In 
the immortal words of Jimmy Durante, I 
ask you: "Am I right or am I right?" 

All of which brings up the question of 
just why does Hollywood waste valuable 
talent, time and money, in producing such 
highly artificial pictures of African jungle 
life as this? Surely, it is not to appease the 
appetite of a movie-hungry public whose 
taste must demand at least a little hint 
of reality. Tonight, during some of the most 
gruesome and morbid sequences, more than 
one chuckle was heard to ripple throughout 
the audience. Showing, of course, that the 
public does not take pictures of this caliber 
in a serious frame of mind, but, judging 
from the crowded house, does not hesitate 
to pay the admission price to see them. This, 
I suppose, is the chief answer as to why 
they are produced, but I am still a bit hazy, 
trying to figure out why people go and sit 
through them. There must be nothing else 
to do. 

To my way of thinking, it is a shame for 
actors who possess great ability to partake 
in productions of this type. And I am re- 
ferring to Walter Huston and Conrad 
Nagel specifically. Their acting, previous 
to this travesty, has always been highly ac- 
ceptable to my standards of quality, but 
after tonight it has suffered a humpty- 
dumpty in my estimation. 

I wish that "Trader Horn" had never 
been born and, furthermore, the next time 
a jungle picture appears in our town I 
intend to lock the door to my room and 
throw the key away and spend an enjoyable 
evening listening to the radio. If I didn't 
lock myself in, I know that I would weaken 
and follow the throng to witness the latest 
extravaganza that is always bally-hooed as 
"Greater than Trader Horn." 

Miller P. Phillips, Olean, N. Y. 

$10.00 Letter 
The Real Garbo 

MUCH has been said and written about 
the Garbo walk. Critics have varied 
in the intensity of their comments, but 
all are agreed on one point: that Garbo is 



56 



not Tuesday's child, "full of grace." Garbo 
strides. Garbo is gawky. Garbo has no 
style in a drawing-room. 

Garbo's walk is as essentially a part of 
her as her voice, her dramatic talent, her 
reticence. Close your eyes; try to visualize 
Garbo mincing or gliding or skipping. Can 
you? Not if you will see the real Garbo. 

It is true that she strides, that she is 
uneasy in a drawing-room: a lioness in a 
cage moves restlessly, with long, silent, 
co-ordinated steps, dreaming of a vastness 
and grandeur beyond this puny space. She 
is not happy in captivity; she does not like 
these civilized bars through which the 
curious stare at her. She is lonely and fright- 
ened, and cannot adjust her free gait to 
littleness. 

That is Garbo. That is Garbo's walk. 
A. T., Winchendon, Mass. 




In case you've wondered, this is how play- 
ers receive their fan mail. Like Adrienne 
Ames, they all have nice, big boxes at 
the studio "post offices" 

$5.00 Letter 
A Bouquet for Norma 

THAVE always believed that Norma 
Shearer was not limited to pictures in 
which she portrayed a shady lady or a super- 
ficial sophisticate. And, now, to prove my 
point, along comes "Smilin' Through!" 

Now, I'm not an old lady or a crank or 
even a bit old-fashioned. In fact, I'm 
twenty-one and quite modern, and I say 
there isn't a girl I know who isn't thrilled 
over a bit of lovely romance such as we 
find in "Smilin' Through." We may get a 
kick out of seeing sophisticated love- 
making once in a while, but when it comes 



down to brass tacks, the thing we want to 
see portrayed on the screen is a sweet bit 
of Romance with a capital letter. We don't 
care if it isn't so-called "realism" — it's our 
ideal, no matter what. We know that there 
is plenty of superficiality and sordidness 
ahead for us anyway. 

So I'm handing my bouquet of roses to 
Norma Shearer who, even though she was 
a hit as a glamourous lady, recognizes the 
fact that underneath we all love real ro- 
mance. And we feel more like smilin' 
through for having that picture! 

Lucille Schwartz, Menasha, Wis. 



Another Exposure 

WARNERS' recent picture, "I Am a 
Fugitive from a Chain Gang," with 
Paul Muni, is truly everything that it was 
forecast — shocking and thrilling. It is 
another sensational exposure to the credit 
of the motion picture industry. 

It paints a vivid picture of the prison 
camp and I believe it will do enormous good 
and that it will serve two major purposes: 
First, it will discourage persons who con- 
template petty acts, as well as criminal 
ones, and make them realize that each one is 
equally as dangerous. Secondly, it will 
make juries realize what they are doing 
when they sentence a man to ten years' 
hard labor, purely on circumstantial ev- 
idence. 

With this exposure, and the recent one in 
Florida, it would not surprise me if Congress 
would appoint a committee to investigate 
our prison camps. 

J. A. M., Houston, Tex. 

Grateful to Joe E. 

I'VE got a little piece to speak about Joe 
E. Brown. When I see that Zeppelin- 
hangar he uses for a mouth stuck on a bill- 
board, I feel a thrill of anticipation. I 
immediately begin seeking ways and means 
for obtaining the price of another show 
ticket. You say he is Warners' greatest 
cash magnet? I say, why shouldn't he be? 
This depression got my job, my money, and 
my self-confidence. I think if it hadn't 
been for Joe it would have got my good 
humor, too. But he saved me that much 
and I am very grateful to him for it. 

Really, Joe's mouth makes you notice 
him; then his acting makes you almost 
forget his mouth. A mere male, he could 
not possess the Garbo glamour or the Bow 
"ittishness"; he cannot even hope for good 
looks with a mouth like the Mississippi. 
But that doesn't faze our Joey. He has 
plenty of that thing they call ability. If 
his numeral isn't seven, he should change 
his name to make it that for he surely is 
a natural! 

Luther Clark, Livingston, Ala. 



Boots Mallory — She's a 
Star After One Picture! 

{Continued from page 22) 

"When Mother remarried, I went to live 
with my grandmother, who believed that a 
child should never live with a stepfather. 
She was very much mistaken, I think. My 
stepfather was even sweeter to me than a 
real one could have been — he was so anxious 
to make up to me for my loss and to show 
no favoritism to his own children. 

"My stepfather is exactly like a father to 
me — even nicer. I adore him, and I don't 
like to refer to him as a stepfather, for fear it 
might hurt his feelings. He's just the same 
as my real father, and most people think he 
is. I use his name. And he was the one who 
nicknamed me 'Boots,' because Patricia was 
too dignified." 

How She Reached Broadway 

ANYWAY, Boots dwelt on with her 
. grandmother, and occasionally went to 
visit her mother and cried herself to sleep 
with homesickness. And in the meantime 
she proceeded to mature early and to learn 
to play the guitar, the uke and the banjo. 
Sort of a female Buddy Rogers, one gathers. 
With nothing but these talents and her pre- 
mature sex-appeal to start with, she 
organized a girls' band that played around 
at local dances, and eventually enlarged it 
into a little troupe that gave theatrical 
entertainments at lodge meetings and things. 

Boots, who already had the sweet mouth, 
the ash-blonde hair and the big gray eyes 
working for her, got along pretty well. An 
agent saw her and signed her and a few of 
her girls to tour the country with an act. 
When that was over, she went to New York 
with one of the girls whose home was just 
a stone's throw from Broadway. 

That was four years ago. With her 
Southern ease, Boots immediately got a job 
not speaking lines, not dancing, and not 
singing alone, in "George White 's Scandals." 
It was in that show that she met her 
husband, Charles Bennett, who played in 
the orchestra. Boots, being a Mallory, 
accomplished a wedding at once. 

"We took an apartment and furnished it 
ourselves and bought a car, and were very 
happy," she related absently. "I posed for 
a lot of commercial artists, and worked in 
N. T. G.'s shows, and then got the job in 
'Hot-Cha.' All the Ziegfeld girls get a lot of 
publicity, so I got it, too, and Fox asked me 
to make a test. 

"Well, I had made tests before and noth- 
ing had ever come of them and I was too 
satisfied with my life to be interested. So I 
refused. Of course, they couldn't under- 
stand that. They kept insisting, so finally I 
thought I might as well go over and have it 
over with. 

"Three weeks later I made the test, and 
much to my surprise, they asked me to go 
to Hollywood. I said, 'No, indeed,' and 
went home. 

"After that Mr. Sheehan sent for me. lie 
said, 'I never heard of anybody like you. 
Why did you come over here if you didn't 
want a picture contract?' 

"I said, 'I just came over to make 1 lie lesi . 
I never dreamed they'd want me to do any- 
thing else. Why should I leave? My 
husband has a job here, and I have my 
apartment and my ear and my own work, 
and I'm happy, and I see no reason to 
leave. Especially as I have no reason to 
think I'd succeed when I got to Hollywood. 
I'd probably be a Hop, and be put into little 
unimportant parts, and then I'd die if I had 
to go back to New York a failure.' " 

Winfield Sheehan took another look at 
the test and another look at Hoots in per- 
(Continued on page 50) 



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57 



Clark Gable's New Y 



There is nothing I know about, in any way, 
that I could ask for or wish for. And do 
happy and perfectly contented people think 
about making resolutions? I wonder! 

Makes a "Daring Statement" 

I LEAD 'the Perfect Life.' A daring 
statement, which I dare to make. Wait, 
now I have it — here is my resolution, the 
big one, covering all the others: / resolve to 
continue to lead the life that is perfect for me, 
and to allow nothing in heaven or hell to inter- 
fere with it. 

"I realize that I am one of about four 
people in the world who can say what I've 
just said — that I lead the perfect life. I re- 
solve not to forget those millions of others 
who must cry while I laugh. 

"I do believe, though, that there are a 
great many people who are leading nearly 
perfect lives and are unaware of it. They 
don't realize their own good fortune or they 
won't admit it to themselves. There is such 
a disease as chronic dissatisfaction, and it's 
about the most insidious and fatal disease 
any man or woman can have So many 
people do not know until it's too late how 
splendid things have been for them. 

"It's like the story of the man who 
traveled the globe 'round and 'round in 
search of the most beautiful thing in the 
world. After many years of searching and 
after great hardships and long after age had 
settled upon him, he found the most beauti- 
ful thing right in his own front yard — his 
daughter's eyes. He hadn't thought to look 
right under his nose, you see. He hadn't 
realized until it was almost too late — 

"I resolve never to be blind to the fine 
and precious things that are mine right now. 

"I resolve to keep my eyes open, and my 
heart, to the things that are with me here 
and now, to-day. 

"I resolve to pass this particular resolu- 
tion on to all who will listen to me: Look in 
your own front yard for beauty and for 
happiness. 

"I resolve to let Tomorrow take care of 
itself. It always has. 

Won't Forget He Had a Break 

I RESOLVE never to forget that Yester- 
day I once told you about — when I was 
unwanted, when doors were closed in my 
face, when I was hungry and friendless and 
alone. I resolve never to forget that the man 
I was then is also the man I am now. 

"I resolve never to let the little, petty 
things annoy me; never to destroy the 
whole because of the pin-pricks. 

"I resolve to continue to be grateful for 
the break I have had, never to allow myself 
to forget that it was a break and might have 
happened to any one of thousands of fellows 
and just happened to happen to me. I am 
no Valentino, despite the ridiculous com- 
parison that was attempted when I first 
started on the screen. If I can be compared 
to any type at all it would be much more to 
— let's see, I haven't thought about it before 
— but it might be to the late Milton Sills or 
Charlie Bickford or George Bancroft or — " 

(It was ridiculous that he should be com- 
pared to anybody, and I said so.) 

"I resolve," Clark went on firmly, his 
attention evenly divided between resolu- 
tions and a large piece of apple pie and 
cheese, "I resolve never to cease being 
grateful to the people all over the world 
who have liked me and have manifested that 
liking. 

"I resolve never to whimper, whine or 
kick when I begin to take the long toboggan 
into oblivion. It has, perhaps, begun for 
me. I know that I am not what I was, or 



ear 

(Continued from page ij) 

perhaps I should say where I was a year ago. 
That's all right. I don't expect to be. 
There are those who say that I should never 
have played the minister role in 'Polly of 
the Circus,' or the white-haired, conver- 
sational man in 'Strange Interlude' — but 
who knows? It's all experience. Some of it 
good, some of it not so good, perhaps. Here 
and now I am concerned only with my 
resolution — which is to continue to be 
grateful for what I have had and still have 
and never to show the white feather about 
what is to be. 



eso 



luti 



ons 




Part of Clark Gable's idea of "the perfect 
life" is horseback-riding. Because his 
employers didn't want him to risk injury, 
he has had to forego polo — but otherwise 
he can ride hard and fast 



Defines "the Perfect Life" 

"T) EFORE I go on resolving, I think I'll 
JD stop right here and tell what this per- 
fect life I've been talking about really 
means to me. 

"First and foremost comes good health. 
No one can lead the perfect life unless he is 
sound of body. And right now I am more 
fit, in better condition, than I ever was in 
my life before. I certainly resolve to keep 
that way — and to keep that way means 
plenty of good food and. sleep and exercise, 
no worry over trifles, a decent amount of 
pleasure and social activity, and there you 
have it. 

"Next in a man's scheme of the perfect 
life comes his work. If a man is not happy 
at the thing he is doing, the whole system of 
his life is basically wrong. The work a man 
does is the foundation upon which rest his 
home and his family. It must come first. 
And I am perfectly happy in my work. I 
wouldn't leave the screen for all the theatre 
calls the world might have to offer. It's easy 
for me to say here that I resolve never to 
leave the screen. Not, certainly, for the 
term of my contract. 



"I have no patience with those in the 
profession who profess to look down on 
what they are doing. I have no patience 
with those who say that they are in the 
movies only for the money there is in them 
and would not be here an hour if it were not 
for just that. I think it's fun. I think it's 
satisfying. And more than that, it can lead 
to the third factor in the perfect life which 
is — 

"A normal life. No man can be happy if 
his life does not run along normal lines. He 
may be happy for a few weeks or for a few 
months if he lives in hotels, works all night, 
sleeps all day, that sort of thing. But not 
for long — not if the man, himself, is normal, 
which I trust I am. As my work is now, 
I leave my home in the mornings and return 
to it in the evenings after the day's work is 
done, as any business man does. That 
satisfies me. I prefer to think of myself as 
a business man, rather than as an actor. 

"I can take vacations now and then, go 
hunting or fishing. I can play contract in 
the evenings, entertain a few friends, go out 
with my family. I can be normal — and I 
resolve to stay that way. 

Will Not Act Off the Screen 
"T NEVER want to be an actor off the 

_L screen. There are some splendid people 
here in Hollywood — some of the best in the 
world. There are also some who make me 
feel ashamed for them when I watch them. 
Men, for instance, who are regular fellows 
when you are off with them somewhere 
alone — unaffected, honest -to-goodness guys 
until some other actor or actress or some 
member of the press comes along. And then 
it's amazing and sickening to watch them 
put on the greasepaint, strike an attitude, 
take out their little bag of tricks, change 
completely. 

"The fourth essential to the perfect life is, 
of course, perfect contentment with one's 
home and family. I am perfectly contented 
with mine. I wouldn't change my home for 
Buckingham Palace and I wouldn't change 
my wife for all the Scheherezades rolled into 
one. As I have resolved to continue to be 
grateful for the break I have had in my 
work, so I resolve to continue to be grateful 
for the break I have had in my personal life. 

"There are so few changes I could wish 
for, so few resolutions I can make along 
lines of change. Naturally, there are the 
purely personal ones. The resolution to 
work harder than I have ever worked before, 
to give more, to think more deeply, to build 
more securely. I would like to be able to 
resolve to have something to say about the 
stories I do and the way I do them during 
J 933- Not that I have any complaint to 
make about the past. I couldn't have asked 
for a voice in choosing my own stories then. 
I was new to it all. I was raw. I was green. 
Now I have learned something and have 
had experience and attained to a knowledge 
of myself, and I should like to be able to 
have some say in the choice of my stories 
and the way I play them. 

"When my contract — a seven-year con- 
tract — is at an end, I resolve to change my 
life and my mode of living completely. 
What I am doing now is perfect for me at 
this time. It may not be so then. I believe 
I shall be through with the screen. I believe 
I shall go back East to live and the work 
I choose to do will be entirely apart from 
anything I am doing now or have ever done 
before. 

"But that is Tomorrow — a good many 
Tomorrows away — and my resolution was 
to let Tomorrow take care of itself. I shall 
not break that resolution nor any of the 
others I have made." 



58 



Boots Mallory — She's a 
Star After One Picture! 

{Continued from page 57) 

son, and then and there he promised her 
she wouldn't have to worry about her fate 
in Hollywood. And he has made good on 
it. Though Boots had never even been a 
chorus girl, the first part he gave her was the 
lead in "Walking Down Broadway" — a very 
dramatic, Gish-like pare with Director Yon 
Stroheim sneering and snarling and scolding 
her into the proper emotional frenzy. And 
Boots made good, too. She astonished 
everyone by giving a performance that 
would be a credit to someone whose pre- 
vious accomplishments were based on 
something sounder than a pretty face and 
a ukulele. I guess there isn't anything much 
sounder, after all. Now she has a seven 
year contract, with options every six 
months, and the leading role in "Handle 
With Care." 

"My husband is here with me," she said. 
"I wouldn't have come without him. I have 
to have someone to baby me. We stored our 
furniture and left the car in New York, and 
now we have an apartment and a Ford. 
Charlie didn't want to come at all. There's 
nothing for him to do here. He can't work 
in any orchestra for six months, on account 
of the labor laws to protect the local 
musicians, and he's bored to death. But I 
would be terribly lonely here without him." 

Drinking her favorite grapefruit juice 
right to the bottom of the glass with the 
abstracted air of a good child, Boots seemed 
like anything but a veteran of the stage and 
a matron of four years' standing. She is 
perpetually smiling and good-natured in a 
vague, obedient sort of way, but her curious, 
undefined personality puzzles people, and 
they feel ill at ease with her. On the set, 
she sits by herself and does very little 
talking. 

Is she shy or is she cagy? Whatever she is, 
she has found the secret of how to make a 
show-girl into a movie star overnight. 

Looking Them Over 

{Continued from page 55) 

SINCE the amazing success of Norma 
Shearer in "Smilin' Through," other 
sophisticated ladies of the screen are begin- 
ning to look around for a suitable "tear- 
jerker" or some such sentimental ballad in 
which they will attempt to be as lovely and 
poignant (not to mention successful at the 
box-office) as Mrs. Irving Thalberg. 

Katharine Hepburn, than whom there is 
no whomer when it conies to sophistication, 
will do Jo in "Little Women," than whom 
there is no less sophisticated! 

From Universal comes the hint that the 
glamourous Tala Birell will go sorrowful in 
an original screen story now in preparation. 



HOLLYWOOD went very, very operatic 
this season, and beautiful Lily Pons 
was dined all through Beverly Hills. In 
fact, the entire season was a howling success 
(no pun intended). The night of Lily's first 
local appearance in concert, the colony 
turned out in all its glory. 

Jeanette MacDonald almost walked 
away with Lily's honors by appearing in a 
daring yellow satin evening gown that was 
described by an excited stylist tin- next 
morning as "the final gasp." With 
creation [eanette wore "jules" and ermine. 

Ruth Chatterton, in an amazing orange 

evening gown, rated second attention from 

the fashion reporters. Ruth's gown tvafl 

extreme in carrying out tin- "old fashioned' 

{Continued on page 65) 



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59 



Tony, Tom Mix's Horse, Says Goodbye 



Prince and Princess of Belgium ; the Duke of 
Yeraga, in Spain; Cardinal Merry del \'al 
in Brussels and the Burgermeister of Am- 
sterdam, who, by the way, was a brother of 
Lou Tellegen, the actor. I know almost as 
many Lords and Ladies as I do actors. 

Not alone would these distinguished 
ladies and gentlemen sign my petition, but 
I'm quite certain every boy and girl in 
America, Europe, Australia, India and 
Japan would add their signatures. For 
years, I've entertained and provided thrills 
for them. The Boy Scouts would circulate 
the petition, for I am an honorary member 
of more than a score of their troops. 

Not Retired by Talkies 

AT first, Stumpy and I thought my retire- 
. ment came, perhaps, on account of the 
"talkies" — you see, we started in the 
"silents." Stumpy knows a lot — he's a 
colored boy, only sixty-three and my groom 
for years, who sleeps in the same stall with 
me — but Stumpy pointed out that the 
"talkies" hadn't retired Chaplin. He 
doesn't say any more in the new pictures 
than I do — and he is a good actor, too. We 
don't believe, Stumpy and I, that Tom 
wanted to retire us — that isn't like Tom. 
We think it was the supervisor. Several 
years ago, I almost kicked one, but Stumpy 
stopped me. Now, we're both sorry. 

Even if I am twenty-three, I'm physically 
fit. There isn't a corral fence in California 
that I can't jump. And no matter what 
some supervisor may tell you, there isn't a 
horse in Tom Mix's outfit that can get out 
to-day and catch me on the level prairie, 
over the desert, or up and down the hog- 
backs. 

Never have I stumbled. Anyone who 
saw "Sky High" will remember how I 
dashed along that narrow trail on the rim of 
the Grand Canyon, in Arizona, where a 
stumble or misstep would have crashed 
Tom and me on the rocks below — more than 
fifteen hundred feet. Doesn't that prove I 
am sure-footed? 

Afraid? I was never afraid. I've raced 
through forest fires, falling trees and clouds 
of smoke to rescue the girl — and I've 
crashed through roofs, leaped fron second- 
story windows, plunged from ocean piers 
and swum to ships half a mile away. In 
"Three Jumps Ahead," I carried Tom over a 
chasm, one hundred and twenty-five feet 
deep, with a leap of twenty-two feet in the 
clear to make it. Racing along the tops of 
swift-moving freight trains is only pastime 
for me, to say nothing of jumping through 
the open door of a baggage car, passing at 
twenty miles an hour; it's all in the day's 
work. 

If the hapless maidens I've helped to 
rescue were to plead that I be reinstated, 
what could movie producers say? Could 
they refuse Clara Bow, Billie Dove, Marian 
Nixon, Helene Costello, Janet Gaynor, 
Dorothy Sebastian, Olive Borden, Sally 
Blane, Patsy Ruth Miller and Phyllis 
Haver? I've rescued them and nearly a 
hundred more. You see, it was my job to 
save em, so Tom could marry them — in the 
pictures. 

Caught His Share of Villains 

AND am I an upright citizen? Say, I've 
. helped to run down, outwit and arrest 
more bandits, cattle rustlers, stagecoach and 
bank robbers than are in jail right now. One 
thing I could never understand, though — 
after we caught 'em, they always got out 
and came back and robbed again. There 
were Duke Lee, Fred Kohler and even 
George Bancroft — we caught 'em robbing 



(Continued from page 40) 

trains again and again, kidnaping, rustling 
cattle. But they never stayed in jail, at 
least not for long, they'd be back in the 
next picture — still bad. 

I've done my good deed a day, and now — 
just at a time when knowledge and experi- 
ence should count for something — they are 
sending me away, good, old Stumpy and 
me, to live with our memories and dream of 
days that are past and gone. 

Tucked away in some quiet pasture, I'll 
miss the excitement, the grinding cameras, 
the chases and the rescues. I loved them — 
the risks, the dangers. And all the dangers 
were not recorded by the camera. I once 
stomped a rattlesnake to death in the desert, 
within less than a dozen feet of Marian 
Nixon — saw it before Tom or the director, 
and it was all over before they knew it. 




Tom Mix and "Tony 



Another time, back of Lebec, California, 
Tom and I chased a big mountain lion up a 
tree, where it was shot. Another time, in 
the dead of winter, Tom and I plunged into 
an ice-filled river in the Yosemite and res- 
cued a girl who had accidentally slipped over 
the bank. I had to swim more than half a 
mile through the ice and rapids where the 
canoes were afraid to follow, carrying Tom 
and the girl. Just another day's work. 

Some of my biographers say that Tom 
always guided me in my work. That is 
partially true. But may I invite their at- 
tention to "Just Tony" — a big box-office 
picture? There, as the leader of a wild 
horse herd, I worked alone — more than 
half a mile from the camera in most of the 
scenes. Not only did I play my part, but 
I "directed" the horses. 

Never Had Any "Education" 

I AM not an educated horse. I was never 
taught routine tricks. Tom and the 
director have always shown me what to do 
in each picture and explained it. I under- 
stood, made the scenes and promptly forgot 
them — leaving me fresh and open-minded 
for the next picture. 

Naturally, I have likes and dislikes. Script 
writers annoy me — they found stories that 
sent us to the High Sierras in the winter and 
the middle of the desert in the summer. 
The other way around would have been 
more sensible. But I fooled one scenarist. 
In "North of Hudson Bay," the script called 
for me to wear snowshoes. He thought I 
couldn't do it, but I did — and just to be 
funny, I ran away and pitched Tom in a 
drift. 



Many times I have been injured, cut by 
fly' n g glass, bruised by falling timbers, 
burned in fire scenes. In one picture I was 
thrown twenty feet and knocked uncon- 
scious by a premature explosion. Tom took 
twenty stitches in my side, but I finished the 
picture. When bandages are put on by Tom 
or Stumpy, I don't pull them off as horses 
usually do — horse sense tells me they are 
there for a purpose. Traveling by steamer 
or train, it is customary to tie a horse. 
Stumpy never tied me. He knew I wouldn't 
jump from a moving train unless told it was 
to be a scene in a picture. 

I regret to confess — but must admit — I 
am something of a roughneck. I hate pet- 
ting. It annoys me to have my forehead 
rubbed or my muzzle stroked. I'm a cow- 
pony — when I play, I play rough. Tom 
understands this. We push and shove — 
I've cracked him many times, knocked the 
wind out of him, but he snaps back with his 
fist or shoulder. That's the way it should be 
between pals like him and me. 

Since my retirement, the newspapers 
have been kind enough to print a few stories 
about me, some with a wide variation of 
fact. May I tell the true story? 

Getting the Record Straight 

I WAS born in Los Angeles, twenty-three 
years ago. My mother, range-bred, had 
been shipped in from Arizona. We haven't 
any record of my father — my mother was 
rather careless about that — but he was 
supposed to be an Arizona cowpony. Horse- 
men believe I have a strain of "Steel Dust" 
on my sire's side. That's blue blood in 
horsedom. 

An Italian vegetable peddler bought my 
mother. As a colt, I ran by her side until 
a yearling. When I was perhaps a week old, 
the Italian gave me to his boy, a lad of ten, 
who named me "Tony," for a favorite uncle. 

One day, I was trotting along with my 
mother and the vegetable wagon, and Tom 
Mix and his ranch foreman, Pat Chrisman, 
saw me. 

Mix offered to buy me, but the Italian 
told him I was the property of his boy. 
That night Tom and Pat bargained with 
the kid. At first the youngster refused to 
sell, but the mother reminded him the 
money would be needed for his schooling. 
The bargain was completed, and the boy, 
himself, drew the bill of sale. Tom still 
has it, and the paper called for the transfer 
"of one sorrel colt, named Tony — price 
$17.50." I might add, the little Italian bam- 
bino did go to school. To-day, he is a rising 
young attorney in Los Angeles. 

As a yearling, I was turned into a corral 
in Edendale, then a suburb of Los Angeles, 
where a few pictures were made. Holly- 
wood, as a studio center, was unknown. 
There I romped with other Mix horses, in- 
cluding "Old Blue," who carried Tom in his 
early pictures — two-reel Westerns. I suc- 
ceeded Old Blue, when the latter died in 
1917. I always admired Blue, an Oklahoma 
cowpony, and copied his ways. To my 
youthful mind, the Mix horses had a snap, 
for they didn't work when it rained. 

As a colt, I was all legs, neck and head — 
awkward and gangly. From Tom and Pat, 
I learned that as a grown horse I was to be 
trained as a "cutting pony" and sent to the 
Mix ranch on the Hassayampa, in Arizona. 
But "Babe" Chrisman, pretty twelve-year- 
old daughter of the ranch foreman, liked me. 
The young girl understood horses, and when 
I was a two-year-old, she gentled me and 
became my first rider. She is the only 
woman I ever cared for — they don't appeal 
to me, although I took quite an interest in 



60 



Patsy Ruth Miller, Marian Nixon and Clara 
Bow. The other leading ladies were with- 
out appeal, so far as I was concerned. I 
rescued them and let it go at that. 

The Life He Has Led 

MY picture debut was made as a four- 
year-old in the picture, "Cupid's 
Round-Up." Tom rode me occasionally 
before Old Blue died. Incidentally, Blue is 
buried in the corral over at Mixville and a 
pillar and tablet mark his grave. 

Pictures occupied my time exclusively for 
a few years — I loved the work. Then Tom 
visited New York to see the Dempsey- 
Firpo fight and took me along. It was my 
first long train trip. I was greatly thrilled. 
My first European trip was made in 1925. 
I liked steamships — never got sick or missed 
a meal. I landed with Tom at Southampton. 

While I was at Tattersalls, the Prince of 
Wales called. Looking me over, His High- 
ness said: "Tony, I've admired you in the 
pictures — now, I'd like to own you." I 
thought if he really had been my master, 
his riding record would have been improved. 

In Paris, I took Tom on the Bois and the 
Rue de la Paix. In Berlin, we had a canter 
in Unter der Linden and in the Tiergarten. 
Visited Brussels, Antwerp, Madrid and 
Amsterdam, traveling by truck and train. 
Returning to Paris, Tom and I made an 
appearance in the Grand Opera House — a 
benefit for a children's hospital. I was the 
only horse, so we were told, ever able to 
navigate the winding stairs leading to the 
stage. 

Back in America, we made a tour of per- 
sonal appearances. I traveled in my own 
private car, which, in view of my profes- 
sional position, was proper and deserved. 
We appeared only in parks, charging no